POOR THINGS
Written by
Tony McNamara
Based on the novel POOR THINGS by
Alasdair Gray
FINAL CUT
December 2023
1 EXT LONDON BRIDGE - DAY 1
A woman stands on a bridge on a foggy day. She dives off.
2 INT BAXTER'S HOUSE DRAWING ROOM - DAY 2
LONDON 1882 BELLA BAXTER, a young woman around 30, sits
calmly erect at the piano.
She raises her hands and then smashes down on all the keys
with her fists in a joyful way, screeching with laughter as
she does.
Baxter 50s, in a suit and cravat, deformed face, probably a
result from medical experiments, smiles watching. The
kindness of his eyes is evident despite his scary face.
3 INT BAXTER'S HOUSE DINING ROOM - DAY 3
Baxter is hooked up to a machine and a tube flows into and
under his waistcoat into his stomach. The glass machine pumps
saliva like fluid.
He and Bella eat. Mrs Prim, the housekeeper, puts kippers
down. Bella grabs one, eats it, makes a face, spits it back
across the table.
Baxter makes a sound. A giant bubble spills forth from his
mouth.
It floats a second, they watch as it lands and evaporates.
Bella laughs, claps. Baxter smiles.
He gets up, detaches the pipe from his innards and goes
behind her. Kisses her on the head.
4 INT BAXTER'S HOUSE HALLWAY - DAY 4
Baxter puts on his coat and hat. Bella runs along the hall to
him. She has a half dog, half pig following her.
BAXTER
Bye.
BELLA
Ba. Ba.
He goes out. Locking the door behind him.
CUT TO
Poor Things - Final Cut 2.
5 INT MEDICAL SCHOOL LECTURE THEATRE LONDON DAY 5
A pile of organs on a silver tray. A bunch of small animal
cadavers lie nearby.
An audience of medical students, staring.
Baxter, his smock drenched in blood, addresses them.
A human cadaver, slit open and empty of organs, lies before
him.
BAXTER
A pile of organs without the spark
of self from a brain or the pump of
blood from a heart. Just a
butcher's tray for a Sunday lunch.
Now who would like to reconstruct
the organs? And who can tell human
from animal? If there is a
difference. Come come! You did
puzzles as children, did you not?
They all stare at him. A young guy in his late twenties, Max
McCandles watches. He is eager, righteous and badly dressed.
Some posh fops sit in front of him.
FOP 1
Is it just me or is it devilishly
hard to concentrate when the
monster's talking?
MAX
He is an extraordinary surgeon, his
father founded this place. His
research is said to be
groundbreaking.
FOP 2
Have you mistaken yourself as
included in this conversation Max
McCandles? Your physical proximity
to us does not make it so.
MAX
I-
GUY
Fuck off old pal. Get yourself a
suit.
Max shrinks back. He watches as a hapless student at the
front of the room tries to reassemble the organs in place.
BAXTER
You really think that is where the
liver goes sir?
Poor Things - Final Cut 3.
FOP 1
May I ask what is the purpose of
putting them back in sir?
Baxter looks up. Considers him.
BAXTER
My amusement. Mr Max McCandles!
Everyone is startled.
BAXTER (CONT'D)
Walk with me at the end of the
lesson.
6 EXT MEDICAL SHOOL LONDON HALLWAY DAY 6
Max is staring at a portrait of a very serious looking man,
handsome, in a suit. "Barret Baxter. Our founder. 1842."
Baxter appears and passes right by him walking in a quick
pace. Max struggles to keep up.
BAXTER
Your paper.
MAX
You liked it sir?
BAXTER
It showed signs of a conventional
mind straining hard to almost touch
mediocrity.
MAX
...Thank you.
BAXTER
I need someone. An assistant on a
project.
MAX
I would-
BAXTER
Are you a religious man?
MAX
I believe in God.
BAXTER
Me or the deity?
MAX
Humorous I see, because you are
known as...
Poor Things - Final Cut 4.
BAXTER
It is a joke of my own making, I do
not need it explicated for me.
7 EXT LONDON STREET - DAY 7
They enter the street. A little kid laughs at Baxter. The
kid's mother pulls at the kid, curling her face up at Baxter.
WOMAN
The very devil's work.
MAX
Have you ever thought of growing a
beard sir?
BAXTER
I look like a big dog in a cravat.
MAX
Kids like dogs. This job.
BAXTER
Yes. Come.
They arrive at Baxter's house.
8 INT BAXTER'S HOUSE DINING ROOM - DAY 8
Bella stares at the table, laid for dinner with plates and
glasses. She holds a plate examining it. Happily drops it, it
smashes on the floor.
She starts dropping one after another. Tosses one at the wall
gleefully.
Max and Baxter arrive, unseen at the door. Baxter nods at
Max. He watches. She senses him.
BELLA
God!
She runs to him and leaps. He catches her. She is round his
waist.
BELLA (CONT'D)
He... He...
BAXTER
Hello.
BELLA
Lo.
BAXTER
This is Mr McCandles.
Poor Things - Final Cut 5.
MAX
Hello Bella.
He puts his hand out to shake hers. She raises a hand gently,
then swats him in the nose with a palm. Laughs
uncontrollably. His nose starts to bleed.
BELLA
Bood, Bood.
BAXTER
Blood. Blood.
BELLA
Blood.
BAXTER
Marvellous.
MAX
I'm fine. I'm fine.
Bella starts walking around and around in a circle. Until
she's dizzy. Max stares at her.
MAX (CONT'D)
What a very pretty retard.
Bella still spinning on the other side of the room. Baxter
whispers to Max.
BAXTER
She suffered a brain injury, I
repaired it. Her mental age and her
body are not quite synchronised.
Language is coming. She is
progressing at an accelerated pace.
MAX
She is ...stunning.
BAXTER
I need to meticulously note her
progression. You will do this for
me.
MAX
It would be my honor.
Bella stops spinning.
BELLA
Weeeee Weee.
BAXTER
Yes it is exciting Bella.
Poor Things - Final Cut 6.
BELLA
Nah. Wee.
A wet patch appears across her dress.
MAX
Wee. She's doing a-
BAXTER
Mrs Prim!
CUT TO
9 INT BAXTER'S HOUSE BELLA'S BEDROOM - DAY 9
Bella lies in a beautiful bed in a beautiful room. She wakes
up. Prim and Max enter. Max holds a notebook. He notes down
the time.
10 INT BAXTER'S HOUSE DINING ROOM - DAY 10
Max takes notes as Bella eats eggs and kippers. Bella stops
chewing. Opens her mouth drops the chewed up food out of her
mouth onto the table. Goes on eating her eggs.
MAX
Do you not like kippers?
She points to him questioningly.
MAX (CONT'D)
I am partial to them actu-
She scoops it up off the table, throws the chewed up fish at
him. Laughs.
11 INT BAXTER'S HOUSE SURGERY - DAY 11
Baxter, in a mask, a body on a slab. Mrs Prim is there
working the anaesthetic.
Bella sits on a bench watching, fascinated by the scene, gets
up, leans in close as the body is shaved so it can be cut.
The knife on the skin. The scalpel slices an incision, she
looks up at Baxter beaming.
BELLA
Bella cut too?
BAXTER
Just dead ones for Bella.
BELLA
Just dead.
Poor Things - Final Cut 7.
She walks over to a section of the room where a couple of
cadavers lay out. She runs a hand over one, pushes at it's
breast. Holds a penis up. Lets it fall. She takes a scalpel
walks to the head. Starts plunging it into the eyeballs of a
cadaver. Much to Max's horror and her delight.
BELLA (CONT'D)
Squish. Squish.
CUT TO
12 INT BAXTER'S HOUSE HALLWAY - DAY 12
Bella rides along a hallway on her bike, chased by a chicken
barking like a dog.
BELLA
Chog! Chog! Run Chog!
Max looks at the animal, startled.
13 INT BAXTER'S HOUSE GARDEN - DAY 13
Bella feeds a collection of animals. Pig/dogs. Duck/lambs.
Max stares at them wide eyed.
He eyes the filing cabinets stuffed with medical files.
14 INT BAXTER'S HOUSE STUDY - DAY 14
Max sits opposite Baxter, who is looking through Max's notes.
MAX
She gathers 15 words a day. Her
coordination seems unstable at
best. Her hair grows an inch every
two days.
BAXTER
Excellent. You may go. See you
tomorrow.
MAX
Where did she come from?
BAXTER
I believe your job is to collect
data. When I add inane questions to
it I'll let you know.
He nods.
Poor Things - Final Cut 8.
15 INT BELLA'S BEDROOM - NIGHT 15
Baxter reads to Bella from a book, she blithely lays flat on
top of him on her bed.
BAXTER
And so when they returned from the
wood she was reunited with her
mummy and daddy. That night for
dinner they ate cake until they
were sick, they were so happy to be
back together. The next day when
she awoke..
Beat
BELLA
You me Daddy God?
BAXTER
I am... um...
BELLA
Prim say you not be? Who is?
Baxter looks down at his book for an answer. The next story.
`Adventure in the Andes', an illustration of a man and woman
in explorer gear.
BAXTER
You are an orphan. Your parents
died.
BELLA
Then you cut parents up God?
BAXTER
No. They were... my friends, they
were brave explorers and were
killed in a landslide in South
America. They pushed the boundaries
of what was known and paid a price.
But there is no other way to live
Bella. They sent you to me to care
for you.
BELLA
Dead.
BAXTER
Afraid so my darling.
BELLA
Poor Bella. But love God.
She embraces him. He squirms a bit, awkward, pleasure. Drinks
in her smell a bit.
Poor Things - Final Cut 9.
BELLA (CONT'D)
Sleep here.
BAXTER
No.
He rolls her off him.
BAXTER (CONT'D)
Good night dear Bella.
CUT TO
16 INT BAXTER'S HOUSE BELLA'S BEDROOM - DAY 16
Max sits on the floor with Bella as she looks at a map. Point
to it.
BELLA
This parents.
MAX
Peru.
He watches Bella take a nut from a bowl full and eat it. He
notes it.
BELLA
Why you pen book every nut.
MAX
To note down your nutritional
intake.
She picks up a huge handful shoves them in her mouth, they
spill out as well.
BELLA
(mouthful)
How many?
He smiles. She drops the nuts out of her mouth.
BELLA (CONT'D)
Tell of other places.
She walks her fingers across the map.
MAX
You're in Lisbon, Portugal.
The south of France, the Alps.
She jumps with her hand. Lands.
MAX (CONT'D)
Istanbul. Cross the waters.
Poor Things - Final Cut 10.
She jumps her hand, a long time in the air. Lands.
MAX (CONT'D)
Australia.
BELLA
Bella go look at world.
She walks out. He follows.
17 INT BAXTER'S HOUSE STAIRWELL - DAY 17
Bella climbs the stairs to a door in the roof. Max follows.
18 EXT BAXTER'S HOUSE THE ROOF - DAY 18
She clambers out onto the roof, calm despite the danger. Max
follows her, nervously shuffling his way across on hands and
knees. Sees the back of her head and the looping scar
underneath her hair.
MAX
Miss Bella this is...
She leans out and looks across the suburb, parks, houses,
carriages. Takes her breath away.
Bella picks up a piece of loose shingle. Drops it over the
side. Max startled, looks down as it shatters on the road.
Bella laughs. Seems to decide something. Strolls back across
the roof.
19 INT BAXTER'S HOUSE SURGERY - DAY 19
The windows are open. Smoke is billowing out. Baxter takes
notes as a cadaver's hair burns. Mrs Prim scrambles to
extinguish it as Bella runs in.
BELLA
God. Sun. Outside must go.
BAXTER
Outside? No Bella. We work. Cut
fingers?
Max notices Baxter's reticence.
BELLA
Then Candles take me. Candles!!
MAX
Of course I can if-
BAXTER
No.
Poor Things - Final Cut 11.
BELLA
Out. Yes!
MAX
Has she ever been outside?
BELLA
No!
BAXTER
I have created a perfectly
entertaining and safe world for-
BELLA
Now!!!! Now!!!!
She grabs a jar of tongues from the shelf throws it at
Baxter. He ducks, it smashes.
BAXTER
Bella!
She grabs a rack of blood filled test tubes picks them up.
BELLA
Now!
Throws.
CUT TO
20 EXT LONDON STREET - DAY 20
A horse drawn carriage in the street. Curtains drawn.
21 INT CARRIAGE 21
Baxter, Max and Bella in the carriage. Bella glimpses quick
slivers of people, action through a crack in the curtains.
BAXTER
You know so many things outside can
kill you Bella.
BELLA
Kill dead?
BAXTER
Snakes. Carriages. Sharp faced
birds. Earthquakes. Inhalation of
toxic grass seeds.
She shrinks back from the window a bit.
Poor Things - Final Cut 12.
22 EXT LONDON PARK - DAY 22
The carriage drives into a secluded area of the park. Baxter
checks it's emptiness.
He opens the door. She opens her eyes. Runs out, into a
deserted area of a heavily wooded park.
Rolls in the leaves.
CUT TO
Max and Bella walk. Baxter standing in the distance behind
them, making sure that no other people approach them.
CUT TO
Max next to a tree, picks up and examines a small frog.
MAX
Bella.
She looks into his cupped hands.
BELLA
Kill it.
MAX
What?
She claps his hands together. He opens his hands. Dead frog.
She laughs, runs away.
CUT TO
The three of them are sitting on a blanket on the ground.
She looks at Baxter's hands.
BELLA
Why you funny thumbs God?
He looks at his gnarled short flat thumbs.
BAXTER
Once when I was very small my
father pinned my thumbs into a
small iron case to see whether he
could retard the growth cycle of
bones. Well the pain was so great
to stop myself from weeping I would
stare deeply into my other fingers
and, simply by observation, begin
to parse out the epidemiological
elements. When he came back, to his
surprise I was smiling.
Poor Things - Final Cut 13.
MAX
Good god.
BAXTER
He was a man of unconventional
mind.
Baxter spies people coming toward them.
BAXTER (CONT'D)
Time to go. A storm approaches.
They head for the carriage.
MAX
Why do you scare her so?
BAXTER
She is an experiment and I must
control the conditions or our
results will not be pure.
23 INT CARRIAGE - DAY 23
They ride. Baxter reads. Max takes Bella's pulse. Writes a
note. Bella can hear noise. Bella peeks through the blinds.
Sees a man selling ice cream at the exit to the park. People
eating and laughing. Bella's eyes widen, delighted. She rips
the blind back.
BELLA
Stop! God! We go!
BAXTER
No Bella.
BELLA
Bella wants walk in ice cream.
BAXTER
No.
He pushes the blind closed. She stares at him.
BELLA
Bella wants!
BAXTER
My face. People scared of God.
Laugh at God.
BELLA
God lovely. Like Dog face.
Baxter winces a bit.
Poor Things - Final Cut 14.
BELLA (CONT'D)
Woof! Woof!
BAXTER
Quite.
Bella tries to open the door.
BELLA
Stop! Me walking.
BAXTER
No.
BELLA
No now? No never?
He stares at her.
BAXTER
Just... No.
The carriage moves on. Bella screams in Baxter's face. Kicks
at the window.
Baxter pulls her down from the window. He sees through the
gap in the blinds people looking at them. She bites his hand.
He releases her. She opens the door. Max, not knowing what
else to do, pulls her back inside, ripping her blouse as he
does. Holds her as she spits at him.
MAX
Sorry I-
Baxter pulls out a bottle of chloroform and a cloth. They
struggle. He chloroforms her.
MAX (CONT'D)
Mother of God.
She goes unconscious. He stares at her, deep sadness. Strokes
her cheek.
BAXTER
I'm sorry my darling.
24 INT BAXTER'S HOUSE BELLA'S BEDROOM - DAY 24
Max carries Bella into her room. Her face against his cheek
breathing. He stares at the flap of shirt revealing her skin.
He leans over, hand hovers a second, he folds the cloth to
cover her. His fingers touching her skin slightly. Her eyes
flicker open. He gets flustered. Prim enters, turns down the
bed. Bella is on the edge of consciousness, feeling hands on
her, as she is stripped and put in a nightshirt.
They pull her blankets over her. And exit.
Poor Things - Final Cut 15.
25 INT BAXTER'S HOUSE STUDY - DAY 25
Max rifles through the filing cabinets, finds Bella's file.
Stares at diagrams. Including notes about a baby.
Baxter appears in the door.
MAX
What did you do to her? And why are
you hiding her? Tell me what all
this means or I go to the police.
Baxter considers him.
BAXTER
I shall for it is a happy tale.
CUT TO
26 EXT LONDON BRIDGE - DAY 26
Bella stands on a bridge on a foggy day. She dives off.
27 EXT LONDON RIVER - DAY 27
BAXTER V/O
It is rare to get a body albeit
dead but so close to life.
On the banks of the river Bella's washed up, dead body, lies.
Face down.
A burly looking GUY comes across her. He turns her over. Her
lips are blue. Picks her up and throws her roughly over his
shoulder.
28 INT BAXTER'S HOUSE STUDY 28
BAXTER
Rigor had not set in, the body had
hardly cooled. No pulse, but some
electric current so I could have
kept her alive.
MAX
But you didn't?
29 INT BAXTER'S HOUSE SURGERY - DAY 29
The burly guy takes a few coins from Baxter and leaves.
Baxter goes to a chair, sits. He stares at Bella's pregnant
body.
Poor Things - Final Cut 16.
BAXTER V/O
I knew nothing about the life she
had abandoned, except that she
hated it so much that she had
chosen not to be, and forever. What
would she feel on being dragged
from her carefully chosen blank
eternity and forced to be in one of
our understaffed, poorly equipped
madhouses, reformatories or jails?
Baxter gets up, dexterously picks up a scalpel, approaches
Bella and in one swift motions slits open her dress from top
to bottom. The dress falls open, not an ounce of blood spilt.
BAXTER V/O (CONT'D)
For in this Christian nation
suicide is treated as lunacy or
crime. Who was I to decide her
fate? But there was also on my part
a recognition.
Baxter opens her corset.
30 INT BAXTER'S HOUSE STUDY 30
BAXTER
All my research had come to this
moment, fate had brought me a dead
body and a live infant, it was
obvious.
MAX
It was?
An incredulous Max. He stares at Baxter, not getting it.
BAXTER
Take the infant's brain out and put
it in the full grown woman,
reanimate her and watch.
MAX
Jesus.
CUT TO
Nighttime surgery. PRIM is there assisting. A Glass vial is
rotating fiercely, then fills with blood suddenly. A bloody
surgical saw is put down next to it. The top of Bella's skull
is placed down next to that.
A frenetic lightning like source bounces in a glass sealed
copper bowl with a tube running out of it. Surgical thread
unspooling off a spindle.
Poor Things - Final Cut 17.
Bella's bloody skull top is picked back up by his bloodied
gloved hand.
We cut back to the office.
On Max's face.
MAX (CONT'D)
She knows?
He shakes his head.
MAX (CONT'D)
Who was she?
BAXTER
No idea. But would you rather the
world did not have Bella?
31 INT BAXTER'S HOUSE BELLA'S BEDROOM - DAY 31
Bella sleeps fitfully, starts touching her body. She reaches
between her legs. Starts to feel pleasure, as she starts to
masturbate.
32 INT BAXTER'S HOUSE DINING ROOM - DAY 32
Bella eats breakfast. She takes an apple, puts it between her
legs, rolls it back and forth quickly. Feels more pleasure.
Cums quickly. Sits, smiling.
Mrs Prim enters with some eggs, puts them on the table.
Serves her some eggs, sour faced.
BELLA
Mrs Prim. Bella discover happy when
she want.
PRIM
Uh huh.
BELLA
You are a sour face, but I fix you.
PRIM
I-
BELLA
Close eyes.
Bella shoves her hand between Prim's legs.
PRIM
Oh!
Poor Things - Final Cut 18.
BELLA
Just wait, it takes a moment.
Prim breaks away. Pushes Bella.
Max walks in.
PRIM
She grabbed me hairy business!
She's sick!
MAX
Bella?
BELLA
Oh I have discover something and
must share, share, share. Watch.
She starts masturbating. He is stunned.
BELLA (CONT'D)
What if put cucumber in me?
She takes a cucumber from the table. He turns his back on
her.
MAX
Bella! Cease working yourself
immediately!
She stares at him. Stops.
BELLA
What is-
MAX
Bella in polite society that is not
done.
BELLA
Oh.
MAX
I... just do not.
CUT TO
33 OMITTED 33
34 OMITTED 34
35 INT BAXTER'S HOUSE DINING ROOM - EVENING 35
The three of them sit at the table. A machine, bubbling away
in the corner of the room, is making a foul smelling liquid.
Poor Things - Final Cut 19.
MAX
What is that?
BAXTER
My father took out my oxyntic and
pyloric glands, so I must make my
own gastric juices.
MAX
Why in God's name would he do that?
BAXTER
To discover what no one knew. Turns
out we need them. Ideally.
Bella pushes her plate aside.
BAXTER (CONT'D)
You have not eaten Bella.
She pushes it further to the edge of the table. Eyes him.
BAXTER (CONT'D)
Do not.
She slaps the side of it so it flips in the air and crashes.
It thrills her, she smiles triumphantly.
BELLA
Good night.
Gets up and exits.
A burbling sound rips from Baxter's stomach. He opens his
mouth a large bubble appears and is released. They watch it
for a moment and it floats and lands on the table and bursts.
BAXTER
Do you know I am actually something
of a romantic Max?
MAX
What? I-.
BAXTER
I believe I see love between you
and Bella.
MAX
I... what? I... she is...
BAXTER
Perhaps you should marry her?
MAX
What?
Poor Things - Final Cut 20.
BAXTER
I think she loves you.
36 INT BAXTER'S HOUSE DRAWING ROOM - DAY 36
Bella tossing strawberries high in the air. Max runs
frantically from one side of the room to the other to catch
each in his mouth.
Baxter watches them as Max falls and Bella laughs.
BAXTER V/O
I have seen people look at each
other with love, as an observer
never a subject of course. I see
it.
37 INT BAXTER'S HOUSE DINING ROOM 37
MAX
You do? I do have feelings.
BAXTER
So you would?
38 INT BAXTER'S HOUSE DRAWING ROOM 38
BELLA
Take Bella out.
MAX
Bella... I...
She licks his ear suddenly.
MAX (CONT'D)
Oh.
She laughs. Does it a again, faster, it affects him.
BELLA
Feel funny?
He nods. She leans her head to him.
BELLA (CONT'D)
Do Bella.
He reluctantly licks her ear. Slowly. She laughs.
Poor Things - Final Cut 21.
39 INT BAXTER'S HOUSE DINING ROOM 39
MAX
I wondered if perhaps you were
raising her to be your mistress, a
dark thought unworthy of me I know.
So you are not laying with her.
BAXTER
Spermatic ejaculation can only
induce homeostasis in me if
accompanied by prolonged
stimulation of higher nerve centres
whose pressure upon the ductless
glands changes the chemistry of my
blood not for a few spasmodic
minutes but for many days.
MAX
What?
BAXTER
I am a eunuch and can't fuck her.
To get a sexual response from my
body would take the same amount of
electricity as runs North London.
Besides my paternal feelings seem
to outweigh my sexual thoughts.
40 EXT BAXTER'S HOUSE GARDEN - DAY 40
An enclosed courtyard, Bella is staring up at the sky. A
Pig/dog and a duck/goats mill about.
MAX V/O
I apologise for my own dark
thoughts.
BAXTER V/O
Not dark at all. Men's, indeed all
sexuality, is basically amoral.
MAX V/O
Not all sir!
BAXTER V/O
Do you wish to marry her or not?
Max approaches Bella in the garden.
MAX
I wish to marry you. Be my wife.
She smiles, he goes to kiss her, hits her teeth.
Poor Things - Final Cut 22.
BELLA
Ow! Let us touch each other's
genital pieces.
MAX
No. I do not wish to take advantage
of you. You are... special. When we
are wed.
She nods, slightly annoyed.
41 INT BAXTER'S HOUSE DINING ROOM 41
BAXTER
One condition.
MAX
She must desire it also, I
understand.
BAXTER
Two conditions then. That one you
said and you must live here with me
always. I will have a legal
agreement drawn up.
CUT TO
42 OMITTED 42
43 OMITTED 43
44 INT BAXTER'S HOUSE BELLA'S BEDROOM - DAY 44
Bella looks at the windows. Notices the new locks on them.
She punches the window. Growls. Hits the window.
45 INT BAXTER'S STUDY - DAY 45
Duncan is at the office. Baxter peruses the papers. Duncan
sips at a glass of port.
DUNCAN
Curious contract.
BAXTER
Hmmm. There are several spelling
errors.
DUNCAN
Oh... immaterial to the legal
bindingness of it I assure you.
(MORE)
Poor Things - Final Cut 23.
DUNCAN (CONT'D)
Must be quite a woman to warrant
such binding.
BAXTER
Hmmmm.
DUNCAN
If you'll excuse me I need to use
the facilities.
Baxter looks up at him.
BAXTER
Are you five years old that you
cannot hold your water?
DUNCAN
Weak bladder, as my father before
me and his before him.
BAXTER
You may have prostate cancer. Look
into it.
DUNCAN
Will do.
46 INT BAXTER'S HOUSE HALLWAY - DAY 46
Duncan takes the stairs, two at a time, opening doors,
snooping, enjoying himself.
One of the doors opens onto Bella's bedroom.
47 INT BAXTER'S HOUSE BELLA'S BEDROOM - DAY 47
Bella is in a cupboard in her room. She blows soap bubbles.
She hears the door to her room open. Peers through a crack.
Duncan spins the globe, looks at the maps on the floor. Picks
up one of her hats.
He notices bubbles coming out of the cupboard. He goes over,
positions himself and starts popping the bubbles.
The door opens.
DUNCAN
Miss Bella Baxter, as per your
contract no doubt?
BELLA
Good afternoon visiting man. Want
my hat?
Poor Things - Final Cut 24.
DUNCAN
Would it suit me?
He goes and puts it on. She follows him.
BELLA
Yes! It is foolish good!
She claps.
DUNCAN
I had to meet this woman who would
inspire such a contract of marriage
that imprisons her.
BELLA
What you mean?
DUNCAN
You will live here, travel with Mr
Max McCandles and Baxter abroad,
but not go forth in the city.
She takes this in.
BELLA
I see. They love me tight.
His hand presses between her legs softly, as he leans to her
ear.
DUNCAN
I understand why. I need to pinch
you, to see if you are real.
BELLA
You will not pi-
He pinches her hand slowly, softly, as he presses closer. She
closes her eyes. He is close to her.
BELLA (CONT'D)
Oh. Who is you?
DUNCAN
Mr Duncan Wedderburn.
He walks out, tossing her hat to her as he goes.
CUT TO
48 INT BAXTER'S HOUSE BELLA'S BEDROOM - NIGHT 48
Bella lies on her bed. Masturbating.
She hears a knock on her balcony door. Wedderburn waves.
Poor Things - Final Cut 25.
She goes and opens it.
BELLA
How you get up here?
DUNCAN
I climbed.
He holds out a limp wrist. She looks at it. It snaps taut
suddenly, startling her. She laughs.
49 EXT BAXTER'S HOUSE ROOFTOP - NIGHT 49
BELLA
You were watch me long?
DUNCAN
Not long.
BELLA
You did not see me working myself
to get happiness did you? It is not
polites I know.
DUNCAN
I do not care for polite society.
It's fucking boring and destroys
one's soul.
BELLA
God not believe in soul.
DUNCAN
I think God's the actual author of
the soul idea.
BELLA
Godwin Baxter.
DUNCAN
The burnt dog. What is that story?
You are a prisoner and I aim to
free you.
She claps her hands.
DUNCAN (CONT'D)
There is something in you, some
hungry being, hungry for
experience, freedom, touch. To see
the unknown and then...
He touches her face.
Poor Things - Final Cut 26.
DUNCAN (CONT'D)
Know it. So why am I here you ask?
I am going to Lisbon on Friday. I
would like you to come.
BELLA
Lisbon, of Portugal.
DUNCAN
That is the Lisbon I speak of.
BELLA
God never allow it.
DUNCAN
That's why I'm not asking him. I'm
asking you.
She considers him.
Beat.
BELLA
Bella not safe with you I think.
DUNCAN
You are absolutely not.
50 INT BAXTER'S HOUSE SURGERY - DAY 50
Baxter has a line of brains on a tray. He slices one quickly
like sushi chef and has it sectioned in no time. He examines
it. Bella enters.
BELLA
May I have a moment of value time
dear God?
BAXTER
Of course Bella.
BELLA
I wanted to tell you big news.
Bella is dizzy with excite.
BAXTER
What is it?
BELLA
Tonight at midnight I secretly run
away with one Duncan Wedderburn.
BAXTER
What!?
BELLA
You will wish to stop me.
Poor Things - Final Cut 27.
BAXTER
I shall stop you!
BELLA
You hold Bella too tight. I must
set forth into waters.
BAXTER
We can travel. You, me, and Max.
Whom, I will remind you, you are
betrothed to.
BELLA
I will marry Max as he seems right
for that, but first I will
adventure on Duncan Wedderburn,
whom I think cares little of damage
to me, but will be interesting as
well.
BAXTER
I can't let you go.
BELLA
Kiss me and set me forth. If you do
not, Bella's insides turn rotten
with hate.
BAXTER
Hate?
BELLA
Hate.
He stares at her.
51 INT BAXTER'S HOUSE BELLA'S BEDROOM - DAY 51
Miss Prim and Bella pack her suitcases. Max comes in at a
raging clip.
MAX
Unpack those bags Prim.
Prim walks out past him. Rolls her eyes.
MAX (CONT'D)
Godwin has explained your plan. I
do not blame you Bella, that man is
a cad and a rake. He has insidious
ways to get under a naive woman's
skin.
Poor Things - Final Cut 28.
BELLA
Mostly his eyes on mine as his hand
softly between Bella's legs and
whisper words I can't hear that
make Bella's body heat.
Beat. Max stares at her.
MAX
Jesus! We are engaged Bella. I love
you.
BELLA
And when I am back we marriage and
be happy as two doves on a branch.
You think I need travel hat?
MAX
This will not do. It cannot.
He starts taking off his coat.
MAX (CONT'D)
I will see to this man myself, beat
him until his handsome face is a
porridge of blood and bones.
BELLA
Max you are flushed and I am too at
sight of different Max.
MAX
I apologise but I will not let
someone I know who has nothing but
ill intent in his mind and nothing
for you in his heart, trick you. I
will smash his fucking head in.
She crushes her lips on his. Pulls away and brings a cloth
with chloroform to his mouth. An unconscious Max drops to the
floor.
BELLA
Good bye later dove. I will see you
after grand adventure.
Baxter comes in clutching a stack of folded notes.
Baxter grabs a dress from her case, rips open the lining, and
swiftly sews the money into the dress with the skill of a
surgeon. She watches him. He stares at her as he does it.
He comes to her, embraces her, then stalks from the room.
CUT TO
Poor Things - Final Cut 29.
52 INT BAXTER'S HOUSE BELLA'S BEDROOM - DAY 52
Max wakes up. He has a half chicken half pig pecking at his
chest.
He gets up, runs downstairs.
53 INT BAXTER'S HOUSE DRAWING ROOM - DAY 53
The drawing room is empty. Almost.
BAXTER
I am having port for breakfast. It
is strangely delicious.
He turns and sees Baxter lying on the floor, an almost empty
flagon beside him.
MAX
She's gone. Why did you not stop
her?
BAXTER
Because I... she is a being of free
will.
MAX
She is now out there. Alone.
BAXTER
She will be fine.
MAX
I am a fool. I should've stopped
her.
BAXTER
Sssh, we are men of science, this
emotionality is unseemly.
Max lies down next to him. Takes a glass. Baxter pours for
him. They lie there.
MAX
I just hope she's alright.
54 OMITTED 54
55 INT LISBON HOTEL ROOM - DAY 55
On Bella's flushed face.
BELLA
Oh Oh Oh.
Poor Things - Final Cut 30.
A darkened hotel room. Bella is on top of Duncan.
Bella has a noisy orgasm.
BELLA (CONT'D)
OOOOOOOH!
56 INT LISBON OYSTER RESTAURANT - DAY 56
A long line of paper covered tables with trays of oysters.
Businessmen hunch over, shucking down oysters.
DUNCAN
You are the most beautiful woman I
have ever seen. I will not lie to
you, I have been with many.
BELLA
Miss Prim said you were wolf with
the scent of hundred women on you.
DUNCAN
She undersells it.
Oysters arrive.
DUNCAN (CONT'D)
Okay, oysters. Have you had them
before?
BELLA
Have not.
He pulls a knife.
DUNCAN
Shuck. Chuck and bubble.
Rollicking.
He shucks two oysters expertly, slides one down his mouth,
closes his eyes, glugs champagne.
She does the same.
BELLA
Rollicking.
CUT TO
57 EXT LISBON STREET CAFE - DAY 57
Silver dishes of Portuguese tarts. They stand at the bar,
espresso at the ready. Tart in hand.
Poor Things - Final Cut 31.
DUNCAN
Nuns and monks would starch their
clothes with egg whites and with
the yolks make these tarts. Now how
to eat it.
BELLA
I will guess through mouth.
DUNCAN
It must not be eaten dainty flake
by dainty flake but inhaled with
gusto, like life itself.
He mashes one into his mouth. She follows suit. She chews,
eyes wide.
BELLA
It incredible. What is... Who made
this?... We need more.
DUNCAN
No more. One is enough, any more it
is too much. It's siesta time.
BELLA
What is siesta?
58 INT LISBON HOTEL ROOM - DAY 58
Bella leans against the wall as they fuck from behind.
CUT TO
Bella flushed and ecstatic astride Duncan.
CUT TOLegs over his shoulders they fuck loudly. A bird flies
into the room and flies around, they ignore it. It flies out.
CUT TO
They lie next to each other.
BELLA
Why do people not just do this all
the time?
DUNCAN
Well at the risk of being immodest
you have just been thrice fucked by
the very best. It's probable no
other man will ever bring you to
the raptures I will. I feel bad for
you.
Poor Things - Final Cut 32.
BELLA
Well it will just be you I do
furious jumping with.
DUNCAN
Furious jumping! I love that.
BELLA
I am rested, let us go again.
DUNCAN
Again? Unfortunately, even I have
my limits. Men cannot keep coming
back for more.
BELLA
It is a physiological problem. A
weakness in men.
DUNCAN
Well... perhaps so.
Bella opens the shutters. The busy Lisbon streets below her.
She smiles.
DUNCAN (CONT'D)
You will be advised, if it's not
too late, not to fall in love with
me. I have very little to offer in
the way of constancy, just
adventure.
BELLA
I see.
DUNCAN
Let us sleep.
CUT TO -
Duncan snores in bed. Bella, dressed, sits by the door.
Exits.
59 EXT LISBON STREET - DAY 59
She stands at the door of the hotel. Anxious.
DOORMAN
Taxi madam?
She shakes her head no.
She peers out onto the street. Sees the bakery they were at
in the distance. Slowly walks towards it. Excited by being
alone.
Poor Things - Final Cut 33.
60 EXT LISBON STREET CAFE - DAY 60
A plate of five Portuguese tarts in front of her. Starts
gorging on them, whole. Fancy society people look at her. She
smiles, her face full of custard.
61 EXT LISBON STREET - DAY 61
She hears music. She follows it. Looks up to a balcony. A
woman plays a fado on her guitar and sings.
Bella is mesmerised. A tear runs out her eye. A woman yells.
A couple come out, arguing spiritedly. The woman slaps the
guy, turns and sees Bella watching. Screams at Bella in
Portuguese.
Startled, Bella runs into a warren of streets.
Realizes she is completely lost. We see her small in a wide
view of the city which now looks like a maze.
Two fisherman are having a fist fight. She stops and watches.
She starts to feel ill, throws up her tarts.
They stop and stare at her. She backs away, walks on.
Then hears it, a tram. She follows the sound as it grows
louder. She turns into the main square and sees their hotel.
62 INT LISBON HOTEL ROOM - EVENING 62
Duncan waits in the room, dressed and smoking, a little
agitated. Bella enters.
BELLA
Good evening Duncan Wedderburn.
DUNCAN
Bella where have you been? You
disappeared.
BELLA
I did not. No one can just
disappear. Can they?
DUNCAN
What?
BELLA
Can they disappear?
DUNCAN
No. Of course... what the fuck are
you...where were you?
Poor Things - Final Cut 34.
BELLA
I wanted a tart, but then an
adventure befell me. I did not know
how to return and then I heard it.
The tram, I will walk to the noise.
And I found it! Amazement to Bella.
Explorer bloods in me.
DUNCAN
Bella, it is dangerous to go out
without me.
BELLA
I have adventured it and found
nothing but sugar and violence. It
is most charming. I am fine.
She lies down on the bed.
BELLA (CONT'D)
I must lie down and you must lie
down on top of me and do some more
furious jumping.
He nods.
63 INT LISBON HOTEL RESTAURANT - NIGHT 63
Duncan and Bella dine in a restaurant busy with families and
couples. The sit together with a fancy couple, Kitty and
Gerald.
DUNCAN
Kitty did you see the new show in
London by Wilde, marvellously
witty.
KITTY
Oh I loved it. A handbag!
They laugh. Bella eating a mouthful of food, makes a coughing
noise as she lets it fall from her mouth back out onto her
plate.
DUNCAN
Bella?
BELLA
What? Why would I keep it in my
mouth if it is revolting?
KITTY
I have said that before to Gerald
if you catch my drift.
DUNCAN
You are wicked.
Poor Things - Final Cut 35.
BELLA
Oh! Because you mean his penis!
They stare at her. A baby nearby is crying.
BELLA (CONT'D)
Duncans can be salty.
DUNCAN
Bella! Good God.
BELLA
I'm sorry, but I must go punch that
baby.
She gets up and heads toward the baby, balling her fist.
Duncan is up and drags her away.
64 INT LISBON RESTAURANT HALLWAY - NIGHT 64
He stops and pushes her against the wall.
DUNCAN
You're behavior is unconscionable.
Will you behave?
BELLA
The food was cacking my throat, the
baby annoying, and the woman boring
with words.
He pushes her hard into the wall, grabs her arm twists her
wrist. She winces. Surprised.
DUNCAN
You will rejoin the table and will
confine yourself to the following
three phrases. `How marvellous'.
`Delighted'. `And how do they get
the pastry so crisp?' Yes?
BELLA
You are hurting Bella.
DUNCAN
I'm sorry. Reason does not
penetrate!
He lets her go.
DUNCAN (CONT'D)
Let us go.
He turns, she punches him in the side of the head.
Poor Things - Final Cut 36.
DUNCAN (CONT'D)
Ow!
They look at each other, she pushes him against the wall.
Kisses him. She breaks. Heads back into the restaurant. He
follows.
65 INT LISBON RESTAURANT - NIGHT 65
They sit with his friends.
KITTY
Are you enjoying Lisbon Bella?
BELLA
Delighted.
DUNCAN
And how is your dear father Kitty?
KITTY
Very unwell, I fear he will not see
the year out.
BELLA
How wonderful. How do they get this
pastry so crisp?
66 INT BAXTER'S HOUSE DINING ROOM - DAY 66
A listless Max and Baxter at the table. Breakfast laid before
them. Baxter suddenly releases a bubble into the air. They
watch it float and die.
Prim comes in with mail. Baxter eyes it, bored. He sees
something.
BAXTER
Good God.
MAX
What is it?
BAXTER
From her.
They look at the naive but stunning drawings on the card.
Sexual drawings, espresso cups. A tram coming out of her
mouth. Scrawled babyish writing over it. They try and
decipher.
MAX
Me Good. Lisbon. Sugar tart lick me
all day. I hope that is all one
sentence anyway.
Poor Things - Final Cut 37.
BAXTER
Good god. Are they...
MAX
Fucking. Yes. I believe so. Also
fellating a tram.
67 OMITTED 67
68 OMITTED 68
69 INT LISBON BAR - DAY 69
She goes in. Points to the shots everyone is having. They set
up a glass for her. She tosses a shot back. Then another.
CUT TO
70 INT LISBON BAR - NIGHT 70
Bella wakes up, slouched in a corner. Empty glasses in front
of her.
71 INT LISBON HOTEL LOBBY - NIGHT 71
A distressed Duncan walks through the lobby, half dressed. He
sits, head in his hands. Bella plops beside him.
BELLA
Does your head ache also Duncan
Wedderburn? I am also starving for
dinner.
He looks at her.
DUNCAN
Where the fuck were you?
An old woman with a large feathered hat approaches.
DUCHESS
Victoria Blessington I do declare.
I have not seen you for years.
BELLA
And you still have not as I am
Bella Baxter, strange feathered
lady.
The woman bridles a bit.
Poor Things - Final Cut 38.
DUCHESS
I apologize. I could've sworn you
were she.
She heads off.
DUNCAN
Right. Shall we?
72 INT LISBON RESTAURANT - NIGHT 72
Duncan sits with Bella. He is sullen. The waiter stands as
Bella orders..
BELLA
Yes the steak, then the fish, then
caramel things in pots that old
spotted people over there have.
She points to an old couple dining nearby. Looks at Duncan.
DUNCAN
Maybe I don't want caramel in pots!
BELLA
Of course, that was all for Bella.
Order at your whim. You are cross
at Bella's outings and adventures,
and yet, we must discover by whim,
as spoken by Duncan Wedderburn to
Bella Baxter day one of Lisbon love
affair.
DUNCAN
Touché.
BELLA
Understand me have never lived
outside God's house.
DUNCAN
What?
BELLA
So Bella so much to discover, and
your sad face makes me discover
angry feelings for you.
DUNCAN
Right. I have become the thing I
hated, the grasping succubus of a
lover. I have pried many of them
off me and now I am it. Fuck!
She gets up, walks onto the dance floor, does a dance of her
own making, alone.
Poor Things - Final Cut 39.
People are weirded out. He watches her. Crazy with love. Goes
and joins her. Takes her in his arms tries to dance normally
with her but she has no idea how and they stumble there way
across the floor. And to their seats.
DUNCAN (CONT'D)
You, like me, are a creature of
freedom and the moment!
She winks. He looks at her.
DUNCAN (CONT'D)
What are you doing that for?
BELLA
A man over there repeated blinks at
me. I blink back, for polites I
think.
Duncan turns and looks at the guy, who looks away. Duncan
crosses the room and attacks the guy. He smashes the guy in
the eye with a glass. They wrestle.
Bella watches for a moment. A man and woman come up to her.
DANCING WOMAN
We are going to dance in town,
please join us.
BELLA
Oh. I have never danced in town.
She leaves Duncan fighting.
Bella walks across the room with the woman and man. He sees
them, extricates himself. Attacks them. The guy and Duncan
exchange punches.
Bella attacks the guy as well. Duncan looks at her.
DUNCAN
You are quite mad.
BELLA
Stop talking as your sounds make
Bella angry.
DUNCAN
I will not stop talking if I have
something to...
Bella picks up someones drink off a table and throws it in
his face, glass and drink.
DUNCAN (CONT'D)
...ouch. Ow.
Poor Things - Final Cut 40.
73 INT LISBON HOTEL ROOM - NIGHT 73
They stare at each other. Bella jumps, her legs around him.
She pushes him down. He slides down, smiles at her
lasciviously. Lifts her dress up, then stops.
DUNCAN
What's this?
She has the word `soft' written on one inner thigh, `softer'
on the other one.
BELLA
A man was teaching me chess when he
said he thought I probably would
have the softest skin he had ever
touched. I said if I did it would
be the inner thighs to test, for
that is where the epidermis is at
its most fine.
He looks at her.
BELLA (CONT'D)
So we tested, and it was the
softest ever! And I noted perhaps
they were not equal in softitude.
Indeed they were not. So I made
sure to note it, remembering which
was which.
He stares at her.
He gets up. Walks out of the room.
BELLA (CONT'D)
What of the tongue play you were
about to perform? Is that not
happening?
74 INT LISBON HOTEL BAR - NIGHT 74
Wedderburn walks to the bar, motions for liquor. Smacks his
head hard into the counter of the bar. Makes a guttural yell.
Blood runs from his head as he drinks the shot. Bella joins
him.
BELLA
You are troubled?
DUNCAN
Did he... lie with you?
BELLA
No, we were against a wall.
Poor Things - Final Cut 41.
DUNCAN
Did you... furious jump him?!
BELLA
No, he just fastlicked at my
clitoris. I had the heat that
needed release. So at my requesting
it was.
He hits his head on the bar again.
BELLA (CONT'D)
You too may tongue play me, so am
not understanding this complicated
feeling you have... Are you now
crying?
He is. She goes and embraces him from behind.
BELLA (CONT'D)
What a confusing person you are
Duncan Wedderburn.
CUT TO
75 INT LONDON MEDICAL SCHOOL - DAY 75
A cadaver lies on the table. Students wait, including
McCandles. Baxter walks in. To Max he seems slightly unsteady
on his feet. Takes a scalpel.
BAXTER
The liver. A small incision is all
that is needed.
Baxter slices, and the knife slides down through the leg as
he passes out and flops to the floor.
76 INT LONDON MEDICAL SCHOOL - DAY 76
BAXTER
I was chloroforming goats all
morning, I may have ingested too
much.
MAX
I am going to venture to suggest
you are upset by Bella's absence.
The litres of port, the sobbing I
hear at night.
A group of students titter to one another as they walk by.
Baxter roars and takes a swing at them as they pass.
Poor Things - Final Cut 42.
BAXTER
Good God man, you prattle like an
imbecile. She is gone! I am a man
of science. I just need to engage
in and continue the project. That
is all. I must go onto the next
thing. Our feelings must be set
aside. Do you think my father could
have branded me with hot irons on
the genitals the way he did, if he
could not put science and progress
first?
MAX
Branded you?!
BAXTER
Let us find a body.
He walks away.
MAX
A... what?
CUT TO
77 INT LISBON HOTEL ROOM - DAY 77
Bella wakes up, sees Duncan smoking in a chair, looking at
her.
BELLA
Hello good morning.
DUNCAN
Good morning darling. I have not
been as supportive of your
adventurous spirit. So I have a
surprise for you.
He points to a large chest.
DUNCAN (CONT'D)
Get in.
She looks at him.
78 OMITTED 78
79 EXT LISBON PATH - DAY 79
Bella knocks on the trunk.
BELLA
I need to wee.
Poor Things - Final Cut 43.
80 INT CABIN - DAY 80
Bella asleep. The trunk stops.
The trunk opens. She comes to and looks up at a beaming
Duncan Wedderburn.
She steps out of the trunk and looks around. A new hotel
suite.
BELLA
(nonplussed) We changed hotels?
DUNCAN
Look out the window Bella.
She looks. The sea. Lisbon in the distance.
BELLA
We are on boat.
DUNCAN
Indeed.
They look at each other.
BELLA
You aim to trap Bella at sea.
DUNCAN
I aim to give you a new adventure.
I suppose it is true you will be
easier to find.
He flops back on the bed, smiles at her.
DUNCAN (CONT'D)
Come disrobe me, ride me and we
will then drink cocktails on the
foredeck.
She stares at him a beat. Goes into the bathroom slams the
door.
81 INT SHIP BATHROOM - DAY 81
Bella in the tiny bathroom. She looks out the porthole.
BELLA
Blue. Blue. Blue.
He bangs on the door. She ignores him.
Poor Things - Final Cut 44.
82 INT CABIN - NIGHT 82
Bella opens the door into the room. Duncan is asleep on the
bed. Bella comes out, eyes him. Goes to the door.
83 EXT SHIP - NIGHT 83
Bella walks through empty ballrooms, empty bars, empty decks.
Seemingly almost alone on the ship.
She steps through some doors. Out onto the deck. Sees a
steward. He holds a seabird by the legs, it flaps it's wings.
He smashes it against the railing.
STEWARD
Shit on me, you fucker!
She stands there, he turns to her, the bleeding dead bird in
his hand.
STEWARD (CONT'D)
Madam.
BELLA
When do we stop?
STEWARD
Athens. Three days.
She nods. She stares at the bird. He flings it over the
railing. Smiles at her.
CUT TO
84 INT DINING ROOM - DAY 84
A flambé crepe suzette, a women's hair on fire. Duncan stares
at Bella who ignores it, she is drawing a postcard to Baxter.
Her floating at sea, a bird sitting on her chest pushing her
under.
DUNCAN
There is a woman on fire. Look.
She continues drawing.
DUNCAN (CONT'D)
I know you are mad, forgive me my
kidnapping you, but it was for
love. A romantic jape. Don't be
such a cunt about it.
She looks at him.
BELLA
I want a drink.
Poor Things - Final Cut 45.
DUNCAN
Of course darling. The ship is fun,
a world to explore. I love you.
Do you love me?
BELLA
Describe the elements I should be
looking for within myself to be
sure.
DUNCAN
You just feel it or not!
BELLA
So it is no evidence base as God
would say. And so how judge it
empirically?
DUNCAN
What the fuck are you talking
about? Who are you? You don't know
what bananas are, you've never
heard of chess, and yet you know
what empirically means!
BELLA
Bella needs a drink. Said twice
now.
DUNCAN
I have never felt anything like
this. Is this true for you?
BELLA
...I suppose empirically it is. Oh
I am out of ink.
DUNCAN
Then you shall have ink my love.
He gets up and heads across the room.
She looks around the room. Sees a striking woman and a
slightly eccentric style for the era who watches the room,
MARTHA VON KURTZROC. She sits with HARRY ASTLEY, thirties,
American, well dressed reading a newspaper. Bella is
intrigued gets up and walks to her.
BELLA
Hello interesting older lady, I
must touch your hair.
MARTHA
I noticed your hair as well. Like
silk on a translucent glowing egg.
Poor Things - Final Cut 46.
BELLA
That is fancy words that excite me
somehow.
MARTHA
You are with handsome over there,
all white teeth and hard cock.
BELLA
Duncan Wedderburn. His teeth are
also hard, his penis is also white.
Harry laughs wryly. Stares at her, suddenly interested.
MARTHA
A good lay I hope.
BELLA
He is my only but I find him able
to elicit exceptional sensations
through my whole body and leave me
yelping happily. I also wish to
dash his body, form, cadaver into
the sea. Is this man jumping on
your body?
MARTHA
He is not. I have not been bedded
in twenty years.
BELLA
What? That is terrible.
MARTHA
It does not concern me greatly. As
the years pass what is between my
ears is my main concern, that
between my legs less so.
HARRY
A desperate rationalization Martha.
Bella looks at him.
MARTHA
This is Mr. Harry Astley. Try not
to take what he says to heart. He
is a cynic.
ASTLEY
Madam.
BELLA
I am Bella Baxter. And don't know
this cynic is?
Duncan approaches carrying an ink well.
Poor Things - Final Cut 47.
DUNCAN
Bella? Ink.
BELLA
Duncan Wedderburn, I have made
friends, colleagues, comrades.
ASTLEY
Harry Astley.
BELLA
This is Martha. She is my new
friend who has not been fucked in
twenty years! Is that not
astonishment?!
(To Martha)
I hope you use your hand between
your legs to keep yourself happy?
DUNCAN
Jesus God Bella! You cannot speak
like this.
BELLA
Polites of society. I forgot.
HARRY
Polite society will destroy you.
BELLA
It will?
DUNCAN
There is some truth to that.
MARTHA
We are all agreed on that. And in
answer to your enquiry on my hand.
Occasionally. Yes.
BELLA
That is much reassuring news. We
shall all dine together.
DUNCAN
We actually-
BELLA
Are all on a ship and cannot
escape, but there is a world to
discover, enjoy, traverse,
circumnavigate.
HARRY
Or can she not have friends Mr
Wedderburn?
He eyes Harry, smiles.
Poor Things - Final Cut 48.
DUNCAN
Delighted.
85 INT SHIP HALLWAY - DAY 85
Bella and Duncan walk down the hall, him simmering. He stops
suddenly, pushes her against the wall.
DUNCAN
Marry me.
BELLA
What?
DUNCAN
I meant to throw you aside. A few
months and then send you packing,
but I cannot. Say you will marry
me. No one has ever captured my
heart. You have.
BELLA
It is tricky as I am engaged to Mr
Max McCandles.
DUNCAN
What?!
BELLA
My hand has taken by another. It is
a saying I heard and did not
understand, you do not take just
the hand but all, do you not?
DUNCAN
You ran away with me! From him!
BELLA
A recounting of events the point of
which is elusive to me.
DUNCAN
You chose me! Over him!
BELLA
For now. For fun.
DUNCAN
I will fucking throw you overboard!
BELLA
So you wish to marry me, or kill
me? Is that the proposal?
DUNCAN
No. No. I...
I am going to the casino.
Poor Things - Final Cut 49.
He stalks off.
86 EXT LONDON PARK - DAY 86
Felicity, a young woman, childlike in manner, is hit in the
head by a ball thrown by Max.
BAXTER
That's fine.
MAX
She is coming along.
BAXTER
Let's try again. Gross motor skills
develop slowly but you will
progress fast.
MAX
Felicity.
Max throws the ball. Felicity does not reach to catch it and
it hits her in the head.
BAXTER
Not that fast.
Felicity starts sobbing uncontrollably.
87 EXT SHIP DECK - DAY 87
Bella sits in the sun reading with Martha and Astley. A small
stack of books beside her.
BELLA
I am reading Emerson. He speaks of
self improvement of men. I don't
know why he does not give advice to
women, perhaps he does not know
any.
MARTHA
You should also try Goethe.
HARRY
Philosophy is a waste of time
Bella.
BELLA
Really? Say more.
MARTHA
No, no, Harry you wretch, it is
integral. People and society can be
improved.
Poor Things - Final Cut 50.
BELLA
It is the goal of all to improve,
advance, progress and grow. I know
this in me and am sure I am
indicative of all.
HARRY
Trust me you are definitely unique
Bella in all ways. But this
improvement through philosophy is
people trying to run away from the
fact we are cruel beasts. Born that
way, die that way.
BELLA
It is a dark view of things Harry.
Duncan approaches.
DUNCAN
Bella, let us take the air, `in our
cabin'?
He winks at her.
BELLA
These two are fighting and ideas
are banging around Bella's head and
heart like lights in a storm.
DUNCAN
You are always reading now Bella.
You are losing some of your
adorable way of speaking.
BELLA
I am a changingable feast, as are
all of we. Apparently according to
Emerson, disagreed with by Harry.
DUNCAN
Come. Come. Just come.
BELLA
You are in my sun.
DUNCAN
What?
She continues reading. He grabs the book out of her hands,
tosses it over the side. Martha hands her one. She starts
reading that. Duncan grabs it and throws it over the side.
He stalks off.
Poor Things - Final Cut 51.
88 INT SHIP CARDS TABLE ROOM - NIGHT 88
Duncan playing cards, he is not winning, slightly distracted.
She comes to him, puts her hand on his shoulder.
BELLA
Come.
He looks at her.
DUNCAN
I am busy losing. Heavily.
And busy drinking. Heavily.
He turns back to his cards, Bella turns and walks out.
89 INT CABIN - NIGHT 89
Bella is lying on the bed reading. Duncan starts kissing her
feet. She pushes him away.
BELLA
I must meet Martha.
DUNCAN
Martha! She is the problem! I will
throw that fucking perfumed bag of
flesh overboard.
Bella looks at him.
BELLA
I dare you.
He stares at her. He heads out suddenly.
90 EXT SHIP DECK - DAY 90
Martha sits in a deckchair reading. Duncan arrives at
speed, Harry is at the railing, sees him coming. Advances
toward him.
HARRY
Where you going?
DUNCAN
She's going over the side.
MARTHA
Marvellous. I never imagined I'd be
murdered. How dramatic.
HARRY
She seems happy to die. Sorry for
getting in your way.
Poor Things - Final Cut 52.
He pushes past Harry straight at Martha.
Duncan struggles to drag Martha in her deck chair to the
railings. Two stewards attempt to restrain him. Martha hits
Duncan in the throat with her cane.
Bella stands nearby roaring with laughter. The two stewards
drag Duncan away.
DUNCAN
(croaks)
I'll be in the bar.
91 INT CABIN - NIGHT 91
Duncan sleeps, battered and bruised. Bella beside him. She
can't sleep.
92 INT/EXT HARRY'S CABIN - NIGHT 92
Bella walks the cabin hallway. Knocks on Astley's door. He
answers blearily.
BELLA
You have made me think, cogitate
and perambulate through ideas that
are wrong, erroneous and
nonsensically annoying that lead me
not to sleep.
HARRY
So...
BELLA
You say all are cruel and I
disagree, disavow and say no not,
but when with Duncan the cruel just
bubbles up in me.
HARRY
That shows good judgement. He is a
pretty moron.
BELLA
No. I wish not to be cruel, I must
improve this aspect of myself.
HARRY
You don't know the world. And you
fear it.
BELLA
I don't fear it.
Poor Things - Final Cut 53.
HARRY
Do you want to see what the world
is really like? I'll show you.
BELLA
Yes. Of course!
93 EXT. SEA - DAY 93
The ship is approaching Alexandria.
94 INT SHIP HALLWAY - DAY 94
Bella and Harry, walk past the casino. Can see Duncan
playing.
95 EXT ALEXANDRIA LIGHTHOUSE TO HOTEL - DAY 95
Bella and Harry travelling in a cable car.
96 CHAPTER HEADING: 96
ABSTRACT IMAGE OF BELLA ARRIVING IN ALEXANDRIA - BUBBLE
97 INT ALEXANDRIA HOTEL - DAY 97
Harry and Bella take breakfast on the balcony of the hotel
above the garden. Bella hears distant wailing.
HARRY
Can you hear that?
BELLA
What is it?
He motions she follow him, they follow the sound. She walks
to the end of the balcony, steps up onto step of the balcony
so she can peer over the walls of the hotel.
Below lies a slum, outside the hotel walls. She looks down in
horror at a sprawling mess of impoverished, desperate people,
mangy dogs, impoverished goats. Squalor, flies and mud.
HARRY
Lot of dead babies. Guess it's hot.
Bella stares, shocked.
BELLA
We must go help them!
HARRY
And how will we do that?
Poor Things - Final Cut 54.
BELLA
I...
HARRY
We go down there, they'll quite
rightfully rope us, rob us and rape
us. And if they were here and we
were there we would do the same to
them.
Bella runs.
98 INT ALEXANDRIA HOTEL STAIRS - DAY 98
She runs down the stairs screaming, tripping and falling.
Harry catches up to her, puts his hand over her mouth. She
clamps her teeth on his hand.
99 EXT SHIP HALLWAY - DAY 99
Bella walks shellshocked along the hallway.
100 INT CABIN - NIGHT 100
Bella wakes to find dinner suited Duncan, asleep, an empty
bottle of whisky on his chest, some of the content poured all
over his shit when he passed out. He is covered in money. A
couple of stacks on the bedside table as well. Bella stares
at it.
She gets up, gathers up the money into a bag. And heads out.
101 EXT SHIP - NIGHT 101
Bella walks to the walkway off the boat. Two stewards are
preparing to cast off.
STEWARD
We are casting off ma'am.
BELLA
But I must go back? I must give
this money to the poor near the
hotel, in something called a slum.
STEWARD 2
We are staying ashore Ma'am. We can
take care of that for you.
BELLA
You can?
STEWARD
Of course, it is generous of you.
Poor Things - Final Cut 55.
BELLA
They need money.
STEWARD
Everyone does.
BELLA
Thank you.
She heads off back up the plank. The two stewards smile at
each other, check the money.
102 INT CABIN HALLWAY - NIGHT 102
Bella walks down the hall. A steward stands in the doorway of
the cabin.
Bella hears Duncan's voice as she approaches.
DUNCAN
(to the steward)
You get me the Captain! Now, we'll
find this fucken thief!
He sees Bella. She sees he is upending the room.
DUNCAN (CONT'D)
Bella! We've been robbed. I won! I
won everything, like never before!
But now it's gone!
BELLA
You haven't been robbed. I took it.
DUNCAN
What?
BELLA
I took it.
She wanders in and flops down on the bed.
BELLA (CONT'D)
I am so tired. Or maybe just my
spirit is. My soul has been
buckled, crumpled, flattened,
Duncan Wedderburn by the sights I
have seen.
He stares at her nonplussed.
STEWARD
So, no need for the Captain then
sir?
Poor Things - Final Cut 56.
DUNCAN
Fuck off before I break all your
teeth!
STEWARD
Indeed sir.
DUNCAN
Where is it?
She cries.
DUNCAN (CONT'D)
You hid it for safety. I was drunk
and foolishly left it everywhere.
What a relief.
BELLA
I did not hide it. I gave it all
away to these poor people, out
there. Money is its own form of
sickness or at least the scarcity
of it. And who am I lying on a
featherbed as dead babies lie in
a...Oh Duncan.
DUNCAN
You what?
BELLA
I am expecting a hug of solace.
DUNCAN
You...
BELLA
I need to offer something to the
world and yet I have nothing.
Except some money. It is a bad day
for Bella Baxter.
He grabs her hard.
DUNCAN
Where is my fucking money?!
BELLA
I just told you I gave it away to
the poor.
The steward returns, knocks on the still open door. An
officer with him.
DUNCAN
I thought I told you to fuck off?!
Poor Things - Final Cut 57.
OFFICER
The steward informs me you may not
have sufficient funds to make good
your account sir.
BELLA
That is probably true, I gave it
all away to some nice men to pass
onto the slum poor.
The steward smiles.
OFFICER
You will be offloaded at the next
port and confined to staff rations
until then. Good evening.
DUNCAN
How dare you?!
The steward steps forward and punches Duncan in the stomach,
winding him. He pushes him over and pulls the door shut.
103 INT BAXTER'S DINING ROOM - DAY 103
A letter from Bella, paper with `aaaa ded blnd bibys
nooooooooooo bit hrry' scrawled across pages is laid out on
the table in lots of sheets, Baxter sits reading it.
BAXTER
(reading)
Dead blind babies, bit harry, my
mouth was full of blood. Poor
Bella, she is a ruin.
104 EXT SHIP DECK - DAY 104
Bella and Harry, Harry's hand bandaged walk up the plank.
BELLA
How is your hand?
HARRY
Fine. I'm sorry.
BELLA
You were trying to help me
understand.
HARRY
No. I actually wanted to hurt you.
I couldn't bear to see such dumb
beautiful happiness in someone. It
was cruel of me.
Poor Things - Final Cut 58.
BELLA
I am not sorry. If I know the world
I can improve it.
HARRY
You can't Bella. That is the real
point. Don't accept the lie, of
religion, socialism, capitalism, we
are a fucked species. Know it. Hope
is smashable. Realism is not.
Protect yourself with the truth.
Bella looks at him.
BELLA
I realize what you are now Harry,
just a broken little boy who cannot
bear the pain of the world.
HARRY
I suppose so.
She kisses him on the cheek.
BELLA
Goodbye Harry. We get thrown off in
Marseille.
HARRY
Why do you stay with him.
BELLA
I always think it will be better.
HARRY
Of course you do.
She walks off.
CUT TO
105 CHAPTER HEADING: 105
ABSTRACT IMAGE OF BELLA ARRIVING IN PARIS
- FLOATING.
106 EXT A SQUARE IN PARIS - DAY 106
A wide view of Paris. Bella and Duncan huddle under an
umbrella on a park bench. A small dog sniffs at them.
BELLA
I have heard great things of the
beauty of Paris.
The dog's owner comes by.
Poor Things - Final Cut 59.
DUNCAN
I will kick your dog to death.
Fucken Paris with no money. What do
you suggest we do Bella?
BELLA
I will get us a hotel. Do not
worry.
DUNCAN
Uh huh. With what?! We have no
money!
BELLA
Is it not an interesting
experiment? We have nothing, how
will we live now?
DUNCAN
I don't know!
BELLA
Exactly. That is the experiment. We
are now the poor. Also many
adventurers have faced these odds.
Robinson Crusoe for instance.
Duncan starts weeping into his hands.
DUNCAN
Selfish, thoughtless, careless
bitch.
BELLA
I'm not thoughtless Duncan. And
while it is true my ability to
think things through to the logical
conclusions is not strong, I did
help those suffering people.
I have ruined us as you point out,
but I still believe my actions came
from a good-
DUNCAN
SHUT. THE. FUCK. UP.
BELLA
I will get us a hotel.
107 EXT SQUARE PARIS - DAY 107
She sees a hotel across the square. A woman in her 40s smiles
at her.
BELLA
Good afternoon Madam.
Poor Things - Final Cut 60.
SWINEY
Good day my fresh, darling, English
rose.
BELLA
Is this a hotel?
SWINEY
We have rooms. Are you looking for
work?
BELLA
How much is a room?
SWINEY
I charge you 10 francs an hour. You
charge them thirty, everyone's
happy.
BELLA
Hmmm. I see.
SWINEY
Monsieur Chapelle. Fresh from
London. Qu'en dites vous?
He looks Bella up and down.
CHAPELLE
Enchanté. Hello. Elle fera
l'affaire.
SWINEY
Take room 16.
He heads up.
CHAPELLE
Merci.
SWINEY
So. Off you go?
BELLA
At this point I am confused.
SWINEY
You are not here to work? C'mon,
lay with him, let him cock you a
bit and make some nice francs.
BELLA
I see. He would pay me for this?
SWINEY
Yes. If you need money, it is the
shortest route to it.
Poor Things - Final Cut 61.
BELLA
I have never been `cocked' by
another man, and yet have wondered
on that. And am in need of funds.
It is I believe, a confluence of
circumstances I regard as almost
fate-like. Let us do this.
108 INT. PARIS BROTHEL FOYER - DAY 108
SWINEY
Room 16.
Bella makes her way upstairs.
109 INT HOTEL ROOM PARIS - DAY 109
Bella enters the room. The man sits naked on a chair smoking
a pipe.
CHAPELLE
Allonge toi.
BELLA
Your name?
He shakes his head no.
BELLA (CONT'D)
Mysterious.
She lays down. He pushes her dress up. Lays down on her.
Starts to position himself.
BELLA (CONT'D)
Should we warm me up a bit fir-
He thrusts himself into her.
BELLA (CONT'D)
Ow.
He thrusts himself into her three times.
CHAPELLE
Aaaaaaaagh!
She holds in a laugh. He gets up. Nods politely.
CHAPELLE (CONT'D)
Merci.
110 INT PARK PARIS - DAY 110
Bella walks back along the park, carrying a chocolate eclair.
Poor Things - Final Cut 62.
BELLA
Good day sir. Eclair au chocolat. I
have come into some money, and some
enlightenment.
DUNCAN
You stole it?!
BELLA
You have always said you are the
best bedman in the world, and I
have never known another so knew
not whether this was true. But now
I do! And he was terrible and made
an ungodly noise as he thrust
himself into me, and a mere three
thrusts Duncan Wedderburn was all
he could manage! Well I stifled a
laugh out of polites of course,
took his money, thanked him,
laughed all the way to buy us this
eclair, and thought so fondly as I
remembered all the fierce sweaty
nights of ours.
DUNCAN
You... fucked for money?
BELLA
And as an experiment. Which I think
will aid us in our relationship as
it gladdens my heart for you, and
my heart has been a little bit dim
on your weepy sweary person lately.
He throws the eclair at her.
DUNCAN
YOU ARE A MONSTER. A WHORE AND A
MONSTER! You are a demon sent from
hell to rip my spirit to shreds to
punish my tiny sins with a tsunami
of destruction. To take my heart
and pull it like taffy, to ruin me.
I look at you and see nothing but
ugliness.
BELLA
That last bit was uncalled for and
makes no sense as your odes to my
beauty have been boring but
constant and now a simple act of
letting old wrinkled man ride on me
seems to erase this.
DUNCAN
Fuuuck! You whored yourself.
Poor Things - Final Cut 63.
BELLA
Which now you are going to explain
to me is bad. Can I never win with
you?!
DUNCAN
It is the worst thing a woman can
do.
BELLA
We should definitely not ever
marry. I am a flawed experimenting
person so I will need a husband
with a more forgiving disposition.
DUNCAN
Cunnnnt.
BELLA
My instinct now tells me you are
not that. Our adventure is clearly
over.
She rips open stitching in her dress, pulls God's bills
forth.
BELLA (CONT'D)
I shall buy you a passage back to
London.
Duncan stares at her.
DUNCAN
You had money?! The whole time!
BELLA
It is God's money for emergencies.
DUNCAN
It has been a fucking emergency for
weeks!
BELLA
I believed in you the whole time.
That you would rise to the
occasion. Now however I see that
was misplaced and there is
something broken in you.
DUNCAN
You broke that something in me!
BELLA
I feel this conversation has become
circular.
DUNCAN
Cuuuunt!
Poor Things - Final Cut 64.
Duncan grabs all the cash out of her hand, and runs.
111 INT PARIS BROTHEL FOYER - DAY 111
Bella stands before Swiney.
BELLA
Madam Swiney, I have examined my
situation. I need sex and money. I
could take a lover, another
Wedderburn who would keep me, but
may require an awful lot of
attention or it's twenty minutes at
a time and the rest of my day is
free to study on the world and the
improving of it. Hence I seek
employment, in your musty smelling
establishment of good time
fornication.
Swiney smiles at her.
SWINEY
A woman plotting her course to
freedom. How delightful. Come.
A group of women sit on chairs in the small foyer, waiting
for clients. Swiney enters with Bella.
CUT TO
The small bell on the door rings. The girls look up. A large
butcher enters.
SWINEY (CONT'D)
Ah monsieur Saveur.
He gives her a packet of freshly cut meat.
SAVEUR
Filet mignon.
SWINEY
A prime cut. Et pour vous?
She points to the women, he eyes them. Nods at Bella.
SWINEY (CONT'D)
Bella.
She follows the butcher up the stairs. Passes Toinette, one
of the girls, in her twenties.
TOINETTE
Say `formidable' at the end. House
rules.
Poor Things - Final Cut 65.
112 INT PARIS BROTHEL BEDROOM - DAY 112
He pushes in a door. Bella follows him in. She looks at him.
He gets undressed. Bella reels a bit.
BELLA
Is that smell you?
He walks toward her, pushes her against the wall. Starts
fucking her.
He groans. Orgasms.
BELLA (CONT'D)
.... Formidable?
SAVEUR
Merci.
Bella nods. As he exits, Toinette comes in. She has a cup of
tea and a handkerchief.
TOINETTE
C'est un mouchoir à la lavende.
Pour l'odeur. For the smell.
Bella takes it smells it.
TOINETTE (CONT'D)
And.. tea just... because tea is
nice. Un petit peu English.
BELLA
Merci. It was brutal, in a
strangely not unpleasant way.
Toinette looks at Bella. She laughs.
TOINETTE
Pamphlet. Read. Je suis socialiste.
BELLA
What is that?
TOINETTE
Une personne qui veut
changer..change the world pour le
meilleur! Make it better. A better
world.
BELLA
Then I am that too.
The bell rings.
Poor Things - Final Cut 66.
113 INT PARIS BROTHEL FOYER - NIGHT 113
A few whores sit in a line. A businessman is looking over
them. Bella sees Mrs Swiney.
BELLA
Ah Mrs Swiney, this line up system.
You really expect me to go upstairs
with a man even if I find him
distasteful and so am slightly sad
when I let him furious jump me?
SWINEY
That is the way it is my darling.
Gosh you look pretty. How it agrees
with you to be ravaged.
BELLA
I suppose. But..
The man interrupts. Points at Bella, but speaks to Swiney.
MERSAULT
Nouvelle fille?
SWINEY
Oui Monsieur Mersault. Bella.
He looks at her. Bella addresses the man.
BELLA
Sir would you not prefer it if the
women chose? As it would be a sign
of enthusiasm for you rather than
the vague sense that they are in a
state of horror as you jump them.
MERSAULT
Horreur? Elles ne sont pas-
SWINEY
Elles vous aiment Monsieur. Bella
is new and may have a mental
illness. Elle ne comprend pas
encore comment cela fonctionne.
BELLA
As God my father says, it is only
the way it is until we discover the
new way it is and then that is the
way it is until we discover the new
way it is and so it goes until the
world is no longer flat,
electricity lights the night and
shoes no longer are tied with
ribbons. You see.
Poor Things - Final Cut 67.
TOINETTE
Je suis d'accord. As a socialist I
agree entirely. Formidable.
SWINEY
Toinette, you have such a clever
mouth, Monsieur Mersault will enjoy
it for free. Go now.
SWINEY (CONT'D)
Bella. A moment in my office.
114 INT SWINEY'S OFFICE - NIGHT 114
SWINEY
You have the most delicious looking
lobes.
BELLA
Thank you, you are most..
SWINEY
I must-
She bites on Bella's ear.
BELLA
Aha ah.
SWINEY
I am sorry, I drew blood. Here
here.
Swiney gives her a handkerchief. A disconcerted Bella dabs
her ear.
SWINEY (CONT'D)
I sometimes give into myself when I
see beauty, young beauty. For one
day my dear you will be a wrinkled
old husk, and no one will want you,
either to pay you for it or have it
for free.
BELLA
I still believe everyone would be
happier if we could choose.
SWINEY
An idealist, like me. How
delightful you are. But we must
give into the demands of the world
sometimes. Grapple with it, try to
defeat it but-
BELLA
So you believe as me?
Poor Things - Final Cut 68.
SWINEY
Of course. But some men enjoy that
you do not like it.
BELLA
What? That is--
SWINEY
Sick! But good business. Come with
me.
She opens a curtain at the side of her office. A baby sits in
a basket.
SWINEY (CONT'D)
My grandchild. Sick and poorly and
requiring much doctoring. My choice
of giving you choice will
jeopardise the business, her
health, her life. Do you want that
Bella?
BELLA
Of course not-
SWINEY
You don't? You are so lovely.
Bella covers her ears. Swiney barks out a laugh. Bella
smiles.
BELLA
I thought you were going for my
lobes.
SWINEY
We must work. We must make money.
But more than that Bella, we must
experience everything. Not just the
good, but degradation, horror,
sadness. This makes us whole Bella,
makes us people of substance. Not
flighty, untouched children. Then
we can know the world. And when we
know the world, the world is ours.
BELLA
I want that.
The bell rings.
SWINEY
Now go and fuck someone and bring
me ten francs.
Poor Things - Final Cut 69.
115 INT PARIS BROTHEL BEDROOM - DAY 115
Bella walks into her room, followed by a plain looking guy in
a suit. He start taking his pants off.
BELLA
First I suggest a short quiz.
GUY
A...quiz?
BELLA
Tell me a childhood memory...un
souvenir d'enfant, then I will tell
you a joke, Toc toc, and then a
quick sniff and if necessary a
quick douse in lavender oil. It
will all enhance our experience
making it formidable. Toc toc!
GUY
Um... Toc toc?
BELLA
Non. I am doing the joke. You the
memory. Le souvenir?
GUY
Um... je me souviens être tombé de
mon..velo..
BELLA
You fell from your bicycle..et...
GUY
je l'ai regardé, attendant de voir
s'il..
GUY (CONT'D)
Oui. Jai commencé à marcher,
and...it..commencé à saigner.
Blood. down my leg. J'ai ressenti
une joie intense.
BELLA
Joie. Joy! You watched the blood
with joy.
GUY
Oui!
She smiles, he smiles back.
BELLA
Knock knock.
GUY
Oui c'est?
Poor Things - Final Cut 70.
BELLA
Fromage.
GUY
Fromage?
BELLA
Cheese to meet you!
He laughs.
BELLA (CONT'D)
Exactly! You know it!
They come together. She sniffs him.
BELLA (CONT'D)
You smell okay. Let us fuck.
CUT TO
Bella having sex against the wall.
CUT TO
Bella is crouched semi naked, facing a wall. There is a
scuttling noise. She looks back. A naked man scuttles crab
like across the floor, sideways but slowly toward her. He
gets there, pulls hair from her head with his pincers and
eats it. Bella turns to watch him, fascinated. He scuttles
away from her.
CUT TO
Bella is being fucked by a handsome guy in his forties.
She starts to orgasm as does he. They finish. Bella, spent
and happy. He puts on his priest clothes.
BELLLE
God gave you a gift my friend.
PRIEST
C'est une malediction.
116 INT PARIS BROTHEL FOYER 116
Bella in a line up. She stares blankly ahead. A guy with
hooks for hands points at her.
117 INT PARIS MEDICAL SCHOOL - DAY 117
Bella and Toinette duck into the back of a lecture hall. A
surgeon cuts up a body as he lectures the class.
Poor Things - Final Cut 71.
118 INT PARIS MEDICAL SCHOOL - DAY 118
The empty hall. The body cut and hollowed out. Toinette and
Bella eat croissants as they walk around it. Bella examines
the incisions.
BELLA
Very inelegant work.
TOINETTE
This is what you do when you're
homesick?
Bella nods.
119 INT PARIS BROTHEL BEDROOM - NIGHT 119
Bella, bored, with a bit in her mouth suspends from the
ceiling. A man humps her leg.
120 INT PARIS BROTHEL ROOM - DAY 120
Two boys of sixteen sit on chairs. A man, a well spoken
Frenchman, in his forties stands, Bella sits on the bed.
BELLA
You wish what?
MAN
My boys are of an age for
education. Sexual. I will
demonstrate.
BELLA
I see.
MAN
Vous pouvez jouer avec les seins de
la femme. Cela engorge le penis et
ça l'excite.
BELLA
At times.
MAN
Si votre penis ne s'engorge pas
vous pouvez faire appelle à son
assistance manuelle.
He nods at Bella. She massages his cock through his pants.
MAN (CONT'D)
Cela augmente le flux sangain. Une
fois la dureté atteinte...
Poor Things - Final Cut 72.
BELLA
Shall I lay, bend, astride?
MAN
Let's starts simple, please.
Bella lays on the bed. She sees one of the boys staring at
her, she winks, he looks down. The other is studiously taking
notes.
The guy gets between her legs, enters her.
MAN (CONT'D)
...commence doucement le va et
vient. J'aime bien commencer par un
quatre, quatre, puis un trois
trois, ensuite un deux deux qui
généralement ammène au climax.
BOY
Et si ça ne vient pas père?
BELLA
Ah, to aid things along a finger in
the arse or a slight choking may do
it.
MAN
C'est Vrai!!
CUT TO
Bella hears a wailing sound from the alley below. She goes to
the window, looks down.
Duncan sits in the alley, he is pulling clumps of hair out.
Looks up, sees her, smiles, waves, a clump of hair in his
hands.
BELLA
Go home!
121 EXT PARIS MULTIPLE VIEWS SQUARE - DAY 121
Toinette and Bella walk.
BELLA
Swiney was right. I am discovering
parts of myself hitherto unknown.
TOINETTE
It is a way to look at it.
BELLA
The variety of desires being made
manifest is fascinating.
(MORE)
Poor Things - Final Cut 73.
BELLA (CONT'D)
Did you have the man who puts a
wedge of pineapple in your mouth
and covers you in dust?
TOINETTE
Oui, Jacques. Il est gentil.
Duncan appears beside her, dusty and rips in his clothes.
DUNCAN
Bella. I have decided to forgive
you. I have booked our berths home.
I have told mother to prepare our
wedding bed. Did you fuck the guy
with hooks for hands? You did. I
know. I beat the tar out of that
guy.
BELLA
Duncan I thought you went.
DUNCAN
I went to the boat, but started to
ache and vomit, so am here to save
you.
TOINETTE
Le Duncan! Quel gâchis!
He holds his hand out to her.
DUNCAN
Charmé.
BELLA
Go home Duncan. Our time has ended.
I look at you and feel nothing but
the lingering question of how did I
ever want you?
TOINETTE
Oooo. And we must go to the meeting
of socialists.
DUNCAN
You're whores!
BELLA
We are our own means of production.
Get out of the way.
Duncan stops. They walk on and head through.
122 INT BAXTER'S STAIRWAY - DAY 122
Felicity is finger painting on the walls of the sitting room.
Max sits nearby taking notes.
Poor Things - Final Cut 74.
FELICITY
Foot. Paint foot.
MAX
Very good.
Baxter enters.
MAX (CONT'D)
Her language is slow but improving.
FELICITY
Gmmmf. Paint. Foot.
Baxter nods to her.
BAXTER
Genius.
MAX
Can you not be so cruel to her?
BAXTER
I made a mistake with Bella. I
allowed feelings to develop. But
there are none for her, she is no
different to the chicken dog. It is
better this way perhaps, and gives
some insight to my father's
coolness to me. It was a necessity
of science.
MAX
Good God man!
BAXTER
I do not expect you to understand
village doctor. By the way I need
you to operate on me.
MAX
Shall I put a beating heart in your
monstrous form?
BAXTER
If you have time while taking this
out.
He pulls up his shirt to reveal a large growth protruding
from his stomach.
CUT TO
Poor Things - Final Cut 75.
123 INT BAXTER'S HOUSE SURGERY - DAY 123
Baxter lies on the operating table.. He looks to where he has
a mirror set up so he can watch. Max slices his belly and
opens him up. Prim assists.
He slices around the perimeter of the tumour.
MAX
I will take some cells from around
the tumour.
BAXTER
No need. You may close me up. It
has spread. I can see tiny polyps.
MAX
Oh.
He peers in. Looks at Baxter.
BAXTER
I am dying. How to break it to the
patient hey?
Laughs.
MAX
Baxter.
BAXTER
Do not cry into the wound. You will
kill me faster with sepsis. Quiet
now and close me up.
Max nods. Baxter closes his eyes.
BAXTER (CONT'D)
Find her.
124 INT PARIS BROTHEL BEDROOM - NIGHT 124
Bella lies on the bed. A closed book next to her.
BELLA
I am closed!
Swiney enters.
SWINEY
Hot chocolate my dear. And pain au
chocolat. You are my favourite.
BELLA
I have heard you say that to
others. We are a machine you feed
with compliments and chocolate.
Poor Things - Final Cut 76.
SWINEY
You are my children I feed with
love.
BELLA
A terrible thing has happened
Swiney. I feel almost nothing, and
my empathy is creeping towards
something I would describe as
contemptuous rage.
SWINEY
This is fabulous.
BELLA
It is?
SWINEY
You are in the dark period before
light and wisdom come to you. You
must forge through it, and once on
the other side you will be grateful
to this moment. But you must keep
going.
Bella takes it in, nods.
BELLA
I see.
Swiney looks at her. Bella covers her ears.
Swiney bites her arm.
BELLA (CONT'D)
Ah.....ah.
125 INT PARIS BROTHEL BEDROOM - DAY 125
Bella's flushed ecstatic face.
From under the sheets appears Toinette.
CUT TO
Toinette sings to Bella.
TOINETTE
Où est ton bébé?
BELLA
Quel bébé?
She points to the scar on Bella's stomach.
TOINETTE
You've got a baby scar. Moi aussi.
Poor Things - Final Cut 77.
She sits up to show her own.
TOINETTE (CONT'D)
Mine is with ma maman. Le tien?
BELLA
I don't have one... It is an
accident scar. But you are not the
first to make the mistake.
TOINETTE
Why lie?!
BELLA
I am not lying! My God told me
himself.
TOINETTE
Un homme?
BELLA
Oui.
She shrugs as if that answers that.
TOINETTE
Voilà.
Bella takes this in. Looks down at her stomach. The scar.
CUT TO
126 INT BAXTER'S HOUSE HALLWAY / STUDY - DAY 126
A thick letter arrives, mad writing on the envelope. Max
finds it, picks it up.
Reads it, walks to the study where Godwin is unconscious
laying in the day bed hooked up to a machine, pumping blood
for him.
MAX
Wedderburn.
127 INT ASYLUM - DAY 127
Duncan is in a cell, lying facing the wall.
MAX
Good day sir.
He gets no response.
MAX (CONT'D)
You wrote to Mr Godwin Baxter.
Poor Things - Final Cut 78.
DUNCAN
He has set a demon at large in the
world, the devil has wrapped her in
an alluring body that cannot be
satiated and a mind that picks
people apart stitch by stitch like
a bloodied and burned rag doll that
has been shat out an elephant's
arse!
MAX
Bella. Where is she?
He looks up at him as if noticing for the first time.
DUNCAN
Who are you?
MAX
I am her fiancé sir.
Duncan takes a beat then laughs. Scratches at his leg. Max
notices the bloody scratches all over his ankle..
MAX (CONT'D)
Obviously things did not end well
between you?
DUNCAN
Did not?....she destroyed me!
MAX
We are all masters of our own ship
so there's that.
DUNCAN
I do not like you and your words!
That Godwin Baxter! He knew, and he
set her onto me, trapped me.
MAX
Where is she?!
DUNCAN
I would not wish her on my worst
enemy, I will save you sir from-
Max kicks him in the stomach.
MAX
Forgive my frustration, just tell
me.
DUNCAN
It does not hurt, I have no
insides, she has hollowed me out,
my soul, my bank account.
(MORE)
Poor Things - Final Cut 79.
DUNCAN (CONT'D)
I am a shell, a bug. Shall we sing?
Oh we are sailors on a ship of
fools.
Max picks him up and slams him against a wall, surprising
himself.
MAX
I do not wish to be like this, you
force my hand.
DUNCAN
We are all masters of our own ship
you cunting cuntfaced deadshit.
MAX
Please I ask you as politely as I
can. Where is she?
128 INT PARIS BROTHEL BEDROOM - DAY 128
Bella lies on her bed. Fingers the scar on her stomach.
Toinette comes in.
TOINETTE
Tu as une lettre.
Walks out. Bella, looks at the postcard. London postmark. A
formally drawn sketch of Baxter on his bed, surrounded by
medical devices. `R.I.P soon. Come.' written next to it.
129 OMITTED 129
130 CHAPTER HEADING: 130
ABSTRACT IMAGE OF BELLA ARRIVING IN LONDON - BRIDGE
131 EXT/INT BAXTER'S HOUSE - DAY 131
Bella stares at the house as she stands at the door. She
smiles. Knocks.
The door swings back. Prim looks at her.
PRIM
The whore's back!
Prim walks away. Bella steps inside.
132 INT BAXTER'S HOUSE DRAWING ROOM - DAY 132
Baxter pulls himself up, leans on the day bed. He is hooked
up to an oxygen machine, and a glass bulb sluices blood via a
tube in and out of his body.
Poor Things - Final Cut 80.
Bella comes in. She rushes to God. Hugs him. He grimaces. But
is slightly overcome by her touch.
BELLA
God! Max wrote me, you are ill?
BAXTER
I am not. I am dying. A subtle
difference, but one I take
seriously as a physician.
You are a sight. And a good one.
BELLA
You cannot die.
BAXTER
Empirical data says different. I
missed you. I now have to lie down.
She helps him down.
BELLA
It is not all sunshine I bring, I
also bring beady eyes and hard
questions for you. Did I have a
baby in me? And if so where is it?
BAXTER
I see. Well, technically you are
your baby. And also I suppose you
are your mother. But also neither.
No memory survives. No experiences
survive.
BELLA
What do you mean I am mother and
daughter?
133 INT BAXTER'S HOUSE OPERATING THEATER - DAY 133
Bella goes through Baxter's papers.
Finds notes on her operation. She starts reading. Max enters,
stands at the door.
BELLA
You knew? And did not tell?
MAX
I...did not see good reason too..
BELLA
And were too cowardly to.
Poor Things - Final Cut 81.
MAX
A bit of that as well. I just
wanted to be with you and was not
sure you would even understand and
Baxter kind of makes one a prisoner
to him, and....sorry.
CUT TO
Bella exmaines the looping scar on her neck in a mirror.
134 INT BAXTER'S HOUSE DINING ROOM (MEAL PREPARATION AREA) - DAY
134
She walk into the kitchen, Felicity at the table, she is
singing a song, which is really just the same word over and
over as she smashes steak with a meat hammer on the table.
Prim supervises.
FELICITY
Bam. Bam. Bam. Bam.
BELLA
Who's this?
Felicity keeps banging as she looks at Bella.
FELICITY
Bell whore, bell whore, Bell whore.
BELLA
You have introduced me already
then Prim?
PRIM
I like this one though.
Prim reaches for the meat.
PRIM (CONT'D)
That's enough Feli-
Felicity brings the hammer down on Prim's hand with the
hammer.
PRIM (CONT'D)
Fucker!
Felicity laughs, goes on hitting the table. Bella looks at
Max.
BELLA
She is another?
MAX
Well...we missed you.
Poor Things - Final Cut 82.
BELLA
Monsters.
Bella walks out.
135 EXT LONDON STREET - DAY 135
Bella walks the street.
136 EXT LONDON BRIDGE - DAY 136
Bella walks onto the bridge. Looks over and sees some dead
fish lying on the bank.
137 INT BAXTER'S HOUSE DRAWING ROOM - NIGHT 137
Baxter lies on the day bed. Machines whirring around him.
Bella enters. She goes to him. He opens his eyes looks at
her.
BELLA
It is hard to be in a position
where one wants to hit someone who
is already in obvious pain.
BAXTER
It is a conundrum for sure. Would
you rather be a grey slab of flesh
with a fish hook in your nose?
She drops her arm.
BELLA
I will feel good for a second, and
bad for longer so...
I really had a fish hook in my
nose?
BAXTER
You did.
BELLA
So I am your creation. As is the
other one.
BAXTER
Neither of you are that. She
wanders the halls with a hammer and
a song, that is not my doing, and I
have read your cards and letters
home and watched you fearlessly
create Bella Baxter with wonder.
Poor Things - Final Cut 83.
BELLA
I am finding being alive
fascinating so I will forgive you
the act, but always hate the lies
and trapping that followed.
BAXTER
Understood. Good to see you.
BELLA
You too. Anger, confusion and brain
dissonance aside. I missed you.
She puts her hand on his.
BELLA (CONT'D)
I arrived home and I smelt the
fomeldahyde and I knew what is
next. I will be a doctor.
He closes his eyes, smiles.
BAXTER
My surgery is yours. My father once
said to me, always carve with
compassion. He was a fucking idiot,
but it's not bad advice.
138 EXT LONDON PARK - DAY 138
Bella and Max walk in the forest.
MAX
He does not have long.
BELLA
I know.
They walk a bit.
BELLA (CONT'D)
You have not mentioned our
betrothal.
MAX
You were much younger, there is
no...bind. I was mesmerised by you
and Baxter took advantage of it.
BELLA
So you are mesmerised no more?
MAX
I am still... mesmerised.
Poor Things - Final Cut 84.
BELLA
I have been a whore you understand.
Cocks for money inside me. Are you
okay with that? Or is the whore
thing a challenge to the desire for
ownership men have. Wedderburn
became much sweary and weepy when
he discovered my whoring.
MAX
I find myself merely jealous of the
men's time with you, rather than a
moral aspersion against you. It is
your body Bella Baxter. Yours to
give freely.
BELLA
I generally charged thirty francs.
MAX
Seems low.
BELLA
Do you believe people improvable
Max?
MAX
I do, as a human body can be cured
of illness, so can men and women be
cured of aspects.
BELLA
Will you marry me Max McCandles?
MAX
I will.
She grabs him and kisses him. He kisses her back.
BELLA
We will need less of your tongue in
the future but overall most
agreeable.
MAX
I will take a note. And have you
been checked for um... disease?
BELLA
I have not, but I shall. I am
enjoying this practical love we
have.
MAX
Mine is also passionate! I assure
you.
Bella laughs.
Poor Things - Final Cut 85.
BELLA
You are adorable. You always were.
CUT TO
139 INT LONDON CHURCH - DAY 139
Max stands at the altar, a priest before them. A few tourists
looking around the church, or praying in pews. No guests.
Bella walks down the aisle. Baxter appears beside her, aided
by Prim.
BELLA
God! You are walking?
BAXTER
I have taken 5 milligrams of heroin
through the toes for the pain,
amphetamines for energy, and
cocaine because I am partial to
cocaine. I will walk you down the
aisle.
They walk to Max.
PRIEST
And so by the powers vested in me
by the church I will solemnize this
union. Do you Bella Baxter take
this man as your husband?
She is about to answer.
ALFIE
Did we miss the part about anyone
objecting to this? Or has that been
removed in some kind faux
modernization of the catechism.
They turn. Alfred Blessington, a sombre looking but magnetic
man, has stormed into the church.
ALFIE (CONT'D)
Hello Victoria, you look well.
BELLA
Do you refer to me sir?
ALFIE
Man doesn't normally introduce
himself to his wife. But if I must-
Baxter coughs violently. Blood sprays.
Poor Things - Final Cut 86.
DUNCAN
He is the God of it. I do not know
if he is in her power or she in
his. It is a devil's hand at work
as you see. He coughs not air as a
normal man but blood.
MAX
He has cancer you fucking idiot!
BELLA
Duncan?
DUNCAN
Do not lay your eyes on me you
demon.
ALFIE
As I was saying. General Alfred
Blessington. Alfie to you. You
really do not know me? When Mr.
Wedderburn put your photo in the
paper.
DUNCAN
I remembered that old bird at the
hotel called you Victoria
Blessington. And pieced this
diabolical fuckfest of a puzzle
together.
Bella looks at Alfie.
BELLA
You are-
ALFIE
Your dear Alfie. You left in a
state of some mental addlement and
hysteria over your pregnancy. On
the discovery of your absence I
felt disembowelled. I have
disembowelled men on the field of
battle and I always imagined a dull
hollow throbbing. And that is what
it was like. There is also a
stench, but that does not apply as
a metaphor here. Here you are my
darling. Here you are.
He comes toward her arms outstretched.
BAXTER
Oh God.
BELLA
I have no recollection of you. I am
Bella Baxter.
Poor Things - Final Cut 87.
ALFIE
Hurtful but perhaps you hit your
head. And these men have clearly
taken advantage of you.
BAXTER
Please go sir!
Bella looks at Baxter and Max. Back at Alfie.
BELLA
You were my husband?
ALFIE
Your dear Alfie.
BAXTER
Bella. I am sorry.
BELLA
Actually I would like to go.
MAX
What?!
BAXTER
Bella!
BELLA
Do you have a carriage sir?
ALFIE
..Yes!
BELLA
Let us go then.
BAXTER
Bella!
He grabs her arm. She looks at him.
BELLA
Let me go God.
He does.
BELLA (CONT'D)
Will you stop me Max?
He shakes his head.
140 OMITTED 140
Poor Things - Final Cut 88.
141 INT CARRIAGE - DAY 141
Bella sits with Alfie in the carriage. There are flowers on
the seat. It's a bit awkward. He smiles at her. Pats her
hand.
ALFIE
It is good to have you back
Victoria.
142 EXT ALFIE'S HOUSE GATES - DAY 142
Some gates open.
The carriage pulls into a circular driveway.
High walls. Long driveway.
The gates shut behind her and are bolted.
She looks up at the mansion in front of her.
143 EXT ALFIE'S HOUSE DRIVEWAY - DAY 143
Alfie helps her from the carriage.
As they head up the steps. Alfie pulls a pistol from his
pocket. She looks at it.
ALFIE
The servants and I have not been
getting along. I fear an uprising.
The door opens, a dishevelled butler, a cigarette hanging
from his lip, opens it. Sees Bella. His eyes widen. He steps
back.
ALFIE (CONT'D)
You remember David darling.
David steps back, nods to her.
As they enter, a maid with her arm in a sling, sees Bella.
ALFIE (CONT'D)
Allison look who's back.
She nods slowly.
144 INT ALFIE'S HOUSE HALLWAY - DAY 144
Allison and Bella walk together along the dusty dishevelled
hallway.
Poor Things - Final Cut 89.
BELLA
You know me?
She nods.
BELLA (CONT'D)
Tell me about myself.
They girl stares at her. Looks away. Keeps walking.
BELLA (CONT'D)
Was I nice?
The girl barks a laugh. They enter a room.
145 INT ALFIE'S HOUSE BELLA'S BEDROOM - DAY 145
Bella takes in the room, she goes to the dressing table. Sees
a writing desk. On the pad is the outline of the word fuck
written forty times.
146 INT ALFIE'S HOUSE DINING ROOM - NIGHT 146
Alfie and Bella sit at the dining table. An array of dishes
on the table. Alfie eats with gusto. She watches him.
ALFIE
Eat. All your favourites. Kippers.
Goose. Tongue. Champagne.
I missed you.
BELLA
What do you think was the root of
the unhappiness, what drove her to
the bridge to leap off?
He stares at her. Smiles.
ALFIE
You hated the baby, and called it
`the monster'.
BELLA
I see. I have noticed a lack of
maternal instinct.
ALFIE
And yet I am happy to have you
home.
He raises a glass.
BELLA
How did we meet?
Poor Things - Final Cut 90.
ALFIE
At a ball.
BELLA
Why did we like each other?
ALFIE
We shared a love of good times.
Watch. Allison! Soup!
He clicks his finger. The doberman in the corner stands to
attention. Walks over to the door. As the door opens.
ALFIE (CONT'D)
Rex.
The doberman leaps up on its hind legs and barks like crazy,
just as Allison enters with a tureen of soup.
Startled, Allison staggers back, falls, the tureen of soup
going all over her. Alfie roars laughing. Bella can't help
but laugh too.
ALLISON
Fuck.
She gets up, makes to come at him. He takes his revolver and
waves it in her direction.
ALFIE
We'll have some cheese when you
can.
BELLA
A love of cruelty. I was not a kind
person it seems.
ALFIE
Kind? You would never be so dull
Victoria. An appalling idea.
Wedderburn says you were a whore. I
suspect it was part of his madn-
BELLA
I was. In Paris. I tired of it but
it was fascinating.
Alfie stares at her as she tries kippers.
ALFIE
Right.
BELLA
These kippers are strangely
delicious. Vinegary or something.
Poor Things - Final Cut 91.
ALFIE
Marriage is a constant challenge
some we bend to some we bend to us.
I will try to forgive you for the
whoring, your sexual hysteria was
often out of hand, and also for the
killing of our unborn child. In
fact when I list how you've wronged
me Jesus Christ himself would
probably beat your head in with a
bat. You are blessed with a
forgiving husband.
BELLA
I have not wronged you. For I do
not know you Alfie.
ALFIE
You're in luck as I've had a lot of
experience in the field with
amnesia, either men who wished to
forget where they were, or a mortar
exploded nearby ringing their
cranium like a church bell. I
suggest we stick close to the house
for several months or a year until
you have made a full recovery.
BELLA
I will leave at my leisure but I am
flattered by your desire to trap
me. You are not the first.
ALFIE
I will have to shoot you in the
fucking head if you try to leave
darling.
BELLA
The front or the back of the head?
ALFIE
The back as to be sure you were
leaving and I was not being rash.
I have missed you.
BELLA
So I am a prisoner?
ALFIE
This conversation has gone down an
unfortunate route. I am sure you
will be as happy as you were
before.
BELLA
As I was before? When I threw
myself from a bridge?
Poor Things - Final Cut 92.
ALFIE
I suspect you fell while looking
for fish.
BELLA
Why would you want to keep me here
if I did not wish to stay?
ALFIE
If one is to drown let it be in a
river of love.
David clears his plate. Alfie cocks his weapon.
ALFIE (CONT'D)
Does that pheasant look stripped to
the bone?
DAVID
It was a misjudgement sir. I
apologize.
ALFIE
Desert darling?
147 OMITTED 147
148 OMITTED 148
149 OMITTED 149
150 EXT ALFIE'S HOUSE GATES - DAY 150
Morning. Bella exits into the garden. She goes to the gate.
It is impossible to open. Looks at how high the walls are.
Realizes she's trapped.
151 INT ALFIE'S HOUSE DINNING ROOM - DAY 151
She passes through the house, hears talking, follows the
sound.
Stands at the door, sees Alfie talking to a doctor.
ALFIE
It comes off easy?
DOCTOR
Like a button on a suit.
I saw them do it in Africa with
sharpened rocks but had my own more
precise device made.
Poor Things - Final Cut 93.
He holds a metal device, a small round circle of metal with a
razor that slides across it.
DOCTOR (CONT'D)
Do you want just clitoral hood, or
glans as well?
ALFIE
The whole infernal packet.
DOCTOR
It will calm her no end.
Bella stands watching, breathing heavily shocked.
ALFIE
This time we will get it done. I
shall get her sedated and bring her
to your surgery this evening.
152 INT ALFIE'S HOUSE BELLA'S BEDROOM - DAY 152
Bella sits in her room, looks at the pad with the word fuck
written over and over.
ALFIE O.S
Victoria darling, where are you?!
CUT TO
153 INT ALFIE'S DINING ROOM - DAY 153
Alfie mixes martinis. Lifts one up. For her.
ALFIE
Ah, perfect timing. Martini.
BELLA
Rather not. I would however like to
leave. I found our time together
interesting, but having now
ascertained why I threw myself from
a bridge. I wish to now go see my
near dead God.
ALFIE
Adorable idea. Unfortunately my
darling my life is dedicated to the
taking of territory. You are mine
and that is the long and short of
it.
BELLA
I am not territory.
Poor Things - Final Cut 94.
ALFIE
The root of the problem is between
your legs and I will have it off
and it will not distract and divert
you anymore. A man spends his life
wrangling his sexual compulsions,
it's a curse, and yet in some ways
his life's work. A woman's life's
work is children, I intend to rid
you of that infernal packet between
your legs and plant a seed straight
after.
BELLA
Let me explain what has happened.
Victoria, your wife, threw herself
from a bridge and died. Baxter
found her, took her to his surgery,
he then removed the baby, removed
the brain from the baby,
transplanted it into my head and
reanimated me.
ALFIE
Uh huh.
BELLA
I'll bring you the file. It's
actually quite fascinating.
However, I will keep my new life
and my lovely old clitoris thank
you. So if you'd call for a
carriage for me-
Alfie draws a gun.
ALFIE
They talk and talk, and at some
point there is nothing left but to
pull a gun. It is the way with
women.
Bella walks to him calmly. He studies her.
ALFIE (CONT'D)
Are you giving in?
BELLA
I'd rather you shot me in the
fucking heart.
ALFIE
I will oblige if I have to. Drink
the drink my darling. Chloroform
and gin, delicious.
She picks it up.
Poor Things - Final Cut 95.
BELLA
In some ways it would be a relief
to be rid of my questing self.
ALFIE
Sip deeply and that freedom is
yours.
She tosses it suddenly in his face. Grabs at the gun, they
struggle. It goes off. They stop. There is a hole in Alfie's
foot. Blood pools out.Bella sees the blood pouring onto the
floor. As does he. Bella still has the gun.
ALFIE (CONT'D)
Fuck.
He reaches for her suddenly, but then topples over. She looks
down at him.
CUT TO
154 OMITTED 154
155 INT BAXTER'S FOYER - DAY 155
Alfie lies on the ground in the foyer, bleeding. Prim stands
staring at him. Bella and Max enter.
BELLA
We must get him up to the surgery.
He will die if we cannot stop it.
PRIM
He's bleeding a lot.
Alfie is falling in and out of consciousness.
ALFIE
You're....fucking...de..ad..
He passes out.
MAX
Bella, if he lives...I sense he is
not a man who will stop.
BELLA
I will not watch him bleed to death
Max, but I agree, he could do with
improvement.
Bella and Prim drag Alfie down the hall.
Poor Things - Final Cut 96.
156 INT BAXTER'S HOUSE SURGERY - DAY 156
Alfie lies on the surgical table, unconscious. Max is
operating in his gown. He digs into the bloody flesh, tries
to get the bullet.
MAX
I have controlled the bleeding.
He looks up as Bella leads the goat in.
BELLA
I have the notes.
He looks at her. She smiles.
BELLA (CONT'D)
I am never happier than when I am
in here.
She picks up a scalpel.
CUT TO
157 INT BAXTER'S HOUSE DRAWING ROOM - NIGHT 157
Baxter is set up on the sofa, machines pumping around him.
Bella lays down next to him.
BAXTER
Bella.
She takes his hand.
BAXTER (CONT'D)
You're back.
She nods.
BELLA
It was just a story of someone
else, not Bella Baxter.
Max lies down the other side of Baxter.
BAXTER
All my life people's eyes looked at
me, horror, pity...
He smiles as she stares at him with love.
BAXTER (CONT'D)
But you.
He kisses her head.
Poor Things - Final Cut 97.
BAXTER (CONT'D)
It is very interesting... what is
happening...
He presses her hand. She kisses his forehead. She looks at
his hand, limp in hers. He's dead. His eyes open.
Bella stares at him. With her fingers closes his eye lids.
Lays her head on his chest.
158 EXT BAXTER'S HOUSE GARDEN - DAY 158
In a courtyard garden. Max is making drinks. Prim throws a
ball at Felicity. She has mastered catching the ball. She's
very happy. Toinette lounging on a chair and next to Bella
reading.
BELLA
Anatomy exam is making me nervous.
MAX
I have tested you many times, you
know it.
TOINETTE
No one knows anatomy better than
you. Crois-moi.
BELLA
Certainement- effectivement.
Ladies? Gin?
PRIM
Please.
FELICITY
Gin.
BELLA
And we should get water for the
general.
We cut to Alfie. He is on the lawn on all fours, eating
grass. He bleats.
PRIM
Felicity. Water.
Alfie eats grass. Bella and Toinette clink glasses, happy.
Max, Prim, happy. Felicity makes her way slowly to get water.
Bella smiles as she reads her book.
THE END
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